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Rough  Motes 


Copyright.  W.  P.  Jervis. 


W.  P.  JERVIS 


) A Complete 

l History  of  Pottery 

Ancient  and  Modem 
“ PATE-SUR-PATE ” 

? By  L.  SOLON 

{ Author  of 

\ “The  irt  of  the  Old  English  Potter” 

\ OVER  60  ILLUSTRATIONS  AND  300  MARKS 
\ Price  50c.  In  limp  leather,  $1 


W.  P.  JERVIS,  Newark.  N.  J. 


X; 


A Lasting  Pleasure  * 

one  of 

JOHN  MADDOCK  & SONS,  Ltd. 

& Royal  Vitreous  ^ 
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CAUTION. 

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CONTENTS 


BY  WAY  OF  PREFACE ?6 

THE  ANTIQUITY  OF  POTTERY 7 

AN  ICONOCLAST 8 

EARLY  ENGLISH  POTTERY 9-12 

Dwight  Stoneware— The  Elers— Salt  Glaze  John  Astbury’s  Discovery  of  Flint— 

Ralph  Shaw — Whieldon— Cookworthy— The  New  Hall  China-  Liverpool— Leeds — 
Rockingham  Ware. 

JOSIAH  WEDGWOOD  AND  HIS  SUCCESSORS 13-17 

MINTONS . 18-22 

SPODE — COPELAND  — PARIAN 23  25 

DAVENPORTS  25 

CAULDON  (BROWN-WESTHEAD  MOORE  & CO.)  26 

AMERICAN  HISTORICAL  EARTHENWARE  27-31 

FOR  THE  AMERICAN  MARKET 32-33 

T.  & R.  Boote  — The  Old  Hall  Earthenware  Co.— Geo.  Jones  & Sons — Johnson 
Bros.— J & G.  Meakin— Furnivals—  Burton  Factories  Burmantofts  Luca  della 
Robbia  Pottery. 

JOHN  MADDOCK  & SONS  34-35 

CHELSEA 36 

BOW 37 

DERBY 38 

CAUGHLEY— COALPORT  39-41 

WORCESTER 42-43 

G.  GRAINGER  & CO 43 

LOWESTOFT 44 

DOULTON  44-46 

BELLEEK-W.  H.  GOSS 46-47 

PATE  SUR-PATE,  BY  L.  SOLON 48-49 

THE  STAFFORDSHIRE  POTTERIES 50-51 

FRANCE.  BERNARD  PALISSY 52-54 

FAIENCE  D’OIRON 54-55 

FRENCH  FAIENCE  AND  EARTHENWARE..... 55  63 

Nevers — Custode  Ware — Rouen—  Moustiers— Strasburg — The  Hannongs  Sincenny — 

Quimper — Lille — Niederviller — Count  Custine — Nancy  - Islettes  — Aprey—  Marseilles — 

Sceaux— Other  Faience  Factories -English  Potters  in  France— Longwy— Montereau 
— Creil  — Gien— Sarreguemines—  Choisy  le  Roi — Bordeaux  — Luneville — Montagnon 
of  Nevers— Clement  Massier— Deck  of  Paris 

FRANCE.  PORCELAIN 64-68 

Poterat — St.  Cloud — Chantilly— Vincennes— Sevres — Mennecy — Orleans — La  Courtille 
— Clignancourt — Rue  de  Bondy — Pont  aux  Choux. 

LIMOGES  69-73 

Early  Faience— Alluaud— Baignol—  Pouyat—  Haviland  & Co.-E.  Gerard,  Dufraisseix 
& Co.  (Chas.  Field  Haviland;— Theo.  Haviland—  Delinieres— Tressemanes  & Vogt — 
Lanternier-  Sazarat. 

ITALIAN  MAJOLICA 74  78 

Hispano-Moresque — Origin  of  Majolica  — Luca  della  Robbia— Gubbia  lustres — 

Maestro  Giorgio— Castel  Durante— Urbino  — The  Fontano’s  — Francesco  Xanto— 

Faenza — Caffaggiola  — Composition  of  Body  — Passarin — Modern  reproductions — 

Ginori. 

CAPO  DI  MONTE  and  BUEN  RETIRO 78 

MEDICI 78 

RHODIAN  79 

GERMANY  AND  AUSTRIA 80-82 

Bottger  and  Meissen— Hochst — Furstenburg— Frankenthal— Ludwigsburg  (Kronen- 
burg)— Baden— Berlin. 

GERMANY  AND  AUSTRIA,  MODERN 82-86 

Gres  des  Flandres  — Jacquelaine  of  Bavaria — Villeroy  & Boch— Hulschenrruther — 
Gerbinge— Rudolstadt— Fischer  & Meig  — Zsolnay  — Mehlen  — Meissen  — Wessel— 

Schwarz — Dernheim,  Koch  & Fischer— Vienna. 

ROYAL  DANISH 86-83 

DELFT  AND  TOURNAY... 88-89 

SWEDEN 89  91 

Rorstrand  — Stralsund— Marieburg— Gustafsburg. 

CHINA  AND  JAPAN  91-93 

ROOK  WOOD 94-95 

THE  PROCESS  OF  MANUFACTURE 96-100 

BEST,  SECONDS,  and  THIRDS xoi 

LIST  OF  WORKS  OF  REFERENCE  ON  POTTERY 102 

MARKS  AND  MONOGRAMS 103-112 


The  frontispiece  is  from  an  original  engraving  after  Sir  Joshua  Reynolds,  kindly  loaned 
for  reproduction,  by  E.  Boote,  Esq.,  New  York. 


Bound  in  Leather,  $1.00 


Paper  Covers, 


COPIOUSLY  ILLUSTRATED  FROM  RARE  EXAMPLES,  AND  WITH  MANY  MARKS  AND 
MONOGRAMS  NOW  FIRST  PUaLISHED. 


W.  P.  JERVIS.  V 


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W.  P.  JERVIS,  62  JAMES  STREET 


COPYRIGHT  BY  W.  P.  JERVIS,  1896 


6 


ROUGH  NOTES  ON  POTTERY. 


By  Way  of  Preface, 


WHO  has  not  lingered  with  a feeling  of  enjoyment  in  some  great  museum 
or  exhibit,  over  a collection  of  ancient  and  modern  pottery,  in  doubt 
whether  to  admire  most  some  quaint  piece  with  its  lizards  and  newts, 
direct  from  the  hand  of  the  great  Palissy,  or  a specimen  of  modern 
china  from  one  of  the  great  European  hives  of  industrial  art ; so  delicate  that  it 
seems  as  if  the  lightest  zephyr  might  waft  it  away  ? Who  but  has  read  of  the 
struggles  of  Palissy,  with  a faith  so  sublime  that  the  doors,  the  very  furniture  of  the 
house,  go  to  feed  the  kiln  ? Of  Frederic  Bottger,  confined  by  a royal  despot  who 
sought  to  wring  from  him  the  secret  he  was  supposed  to  possess  of  transmitting 
baser  metals  into  gold  ? Or  later,  the  struggles  of  Astbury  and  Wedgwood,  the 
pioneers  of  English  Ceramic  art?  You  have  seen  vases  and  platters  from  Rhodes, 
centuries  old,  made  by  Persians  driven  into  exile  there,  side  by  side  with  pieces 
varying  but  little  in  feeling  and  design,  fresh  from  the  kiln,  by  the  same  wanderers, 
from  the  factory  at  Jeypore.  Delicate  little  bisque  statuettes  by  Cyffle,  beside  a 
priceless  piece  of  Faience  d’Oiron,  each  specimen  of  which  is  so  carefully  located 
that  it  can  be  traced  from  hand  to  hand  with  as  much  certainty  as  the  genealogy  of 
some  illustrious  princess. 

What  thought  and  brain  power,  what  an  expenditure  of  wealth  and  muscle  has 
it  taken  to  produce  this  little  cup,  worth  no  more  than  a few  cents;  what  a number 
of  hands  it  has  passed  through  since  it  lay  in  embryo  in  the  mountain  of  King-teh- 
Chin,  or  in  the  heart  of  the  mine  amid  the  rugged  Cornish  hills? 

And  with  some  such  thought  has  come  the  desire  for  knowledge  ; but  the  text- 
books have  been  too  technical,  have  been  written  from  a standpoint  too  high  for 
any  but  the  pronounced  enthusiast,  and  the  desire  has  gradually  faded — disap- 
peared. 

In  the  following  pages  I have  not  attempted  any  exhaustive  account  of  the 
history  of  Ceramics,  but  have  endeavored  to  give  some  interesting  facts  regarding 
the  best  known  varieties  ; to  avoid  the  inaccuracies  of  fugitive  newspaper  contribu- 
tions, and  in  a discursive,  but  I trust,  an  acceptable  manner  to  awaken  or 
reawaken  an  interest  in  this  most  fascinating  art.  Some  features  have  been  intro- 
duced that  so  far  as  I am  aware,  have  not  been  attempted  before,  though  this  does 
not  make  me  any  the  less  diffident  in  submitting  it  to  your  kindly  consideration. 
This  little  work  is  only  intended  as  a primer.  Technical  terms  have  been  avoided 
so  far  as  possible,  and  when  used  are  fully  explained.  I have  not  burdened  the 
text  with  ponderous  reflections  or  criticisms,  but  I hope  it  will  possess  one  quality 
at  least,  that  of  accuracy.  I am  indebted  for  the  historical  facts  given  here  to  the 
works  on  Pottery,  of  which  I have  given  a list  in  another  place,  together  with 
voluminous  notes  on  Staffordshire  pottery,  made  when  a resident  there;  and  to  the 
courtesy  of  manufacturers  or  their  agents  where  personal  intercourse  has  been 
practicable. 


The  Antiquity  of  Pottery. 


THE  history  of  Pottery  is  the  history  of  the  world.  The  art  of  making  it 
was  practiced  by  all  prehistoric  races,  from  the  Neolithic  age  downwards. 
Egyptian  slabs,  moulded  in  slight  relief  or  painted  in  various  colors,  were 
used  to  decorate  the  palace  of  Rameses  II.,  in  the  14th  Century,  B.  C. 
Fully  ten  centuries  before  this  time  the  Chinese,  with  their  earlier  civilization  and 
culture,  manufactured  pottery.  The  Egyptians  were  acquainted  with  the  use  of 
tin  to  make  an  opaque  enamel,  but  do  not  appear  to  have  used  lead,  which  the 
Assyrians  two  centuries  later  employed.  In  Babylon,  tablets  and  cylinders  were 
impressed  with  cuniform  characters  and  were  converted  by  firing  into  imperish- 
able MSS.  These  cylinders  show  the  marks  of  having  been  thrown  on  a wheel. 
The  British  Museum  has  a fine  collection  of  these  tablets,  upwards  of  twenty- 
five  thousand  which  Dr.  Carl  Bezold  is  now  cataloging,  the  second  volume  having 
been  recently  issued. 

Greek  art  succeeded  Assyrian  and  flourished  from  the  eighth  to  the  second  Cen- 
tury, B.  C.  Black  figures  on  red  body  are  generally  ascribed  to  the  earliest  period; 
the  red  on  black  to  about  the  fourth  Century,  B.  C.,  when  their  best  work  was 
produced,  and  following  it  a period  of  decadence  down  to  the  second  Century,  B.  C. 
The  Etruscans  produced  black  moulded  ware,  often  with  stamped  bands,  during  the 
eighth  Century,  B.  C.,  and  from  the  sixth  down  to  the  second,  imitations  of  Greek 
vases.  From  the  first  Century,  B.  C.  to  500  A.  D.,  the  art  found  its  noblest 
exponents  in  the  Romans,  who  gave  us  the  fine  Simian  ware,  of  a fine  red  sealing- 
wax  color,  decorated  in  reliefs  of  really  masterly  modeling  and  often  impressed 
with  the  maker’s  name.  They  ' also  largely  used  the  slip  process  of  decoration, 
the  rude  prototype  of  the  pate-sur-pdte  of  the  present  century. 

Anything  like  chronological  order  in  the  history  of  Pottery  is  almost  impos- 
sible, but  the  Persians  and  Arabs,  having  learned  of  the  potters  of  Greece  and 
Rome  practiced  the  art  from  the  tenth  to  the  seventeenth  Centuries,  when  Chinese 
influence  began  to  be  felt.  The  Moslem  carried  it  along  the  northern  coast  of 
Africa,  and  after  the  Moorish  occupation  of  Southwest  Europe  it  took  root  in 
Spain  and  from  there  spready  to  Italy,  France  and  England. 

Not  the  least  curious  fact  is  the  varying  fortunes  it  underwent;  its  processes 
lost  for  centuries  only  to  be  eventually  re-discovered ; its  frequent  decline  in  one 
country  only  to  again  emerge  triumphant  in  another.  The  use  of  tin  to  give  opaque- 
ness to  a glaze  is  a case  in  point.  It  was  known  to  the  Egyptians  and  from  them 
passed  to  the  Assyrians.  The  Persians  employed  it  as  did  also  the  Arabs  and 
Saracens,  and  by  them  it  passed  into  Europe,  was  lost  and  finally  perfected  by 
Luca  della  Robbia  in  the  15th  Century. 

Again:  Pre  historic  pottery  had  frequently  incised  lines  or  small  dots  made 

with  a piece  of  wood  and  bands  of  ornaments  made  with  stamps  such  as  a hollow 
stick  or  reed.  These  indentations  were  sometimes  filled  with  white  pipe  clay,  forming 
the  prototype  of  the  Encaustic  Tile  of  to-day.  The  Egyptians  of  the  18th  and 
19th  Dynasties,  with  improved  facilities  and  greater  elaboration,  produced  the  same 
result.  In  England  it  re-appeared  in  the  form  of  tiles  made  by  Monastic  orders  for 
religious  purposes  in  the  twelfth  Century.  It  reached  its  zenith  in  the  Faience 
d’Oiron  of  the  sixteenth  Century,  and  was  then  apparently  lost  until  Wright  re-dis- 
covered and  Minton  perfected  it  sixty-five  years  ago. 

A striking  example  of  the  antiquity  of  Pottery  has  recently  come  to  light  in 
the  shape  of  some  pieces  found  at  a depth  of  over  thirty-nine  feet  in  the  alluvial 
deposits  of  the  Nile.  They  have  been  presented  to  the  Bristol  Museum  by  Mr.  L. 
Horner,  an  English  engineer. 


7 


8 


ROUGH  NOTE8  ON  POTTERY. 


An  Iconoclast. 


THE  writer  of  the  article  on  Pottery  in  the  Encyclopaedia  Brittanica  has  very 
pronounced  views  as  to  what  constitutes  Art  in  connection  with  Pottery. 
Here  are  a few  of  them  : 

Dresden  Statuettes:  “Some  of  these,  especially  the  Watteau-like  Shepherds, 
have  a sort  of  feeble  prettiness,  but  most  have  only  little  merit.” 

Dresden  Mayflower : “ Laborious  to  execute  and  extremely  disagreeable  to  the 
eye.” 

Sevres:  “ The  value  of  Sevres  porcelain  is  a highly  artificial  and  conventional 
one,  which  can  hardly  be  considered  in  accordance  with  the  ordinary  rules  or 
canons  of  art.” 

“The  colors  of  Sevres  porcelain  are  generally  harsh  and  out  of  harmony  wTith 
the  pictures  they  surround ; the  forms  of  the  various  vessels,  too,  are  frequently 
very  ungraceful  and  utterly  unsuited  to  any  plastic  substance.” 

“Perhaps  the  worst  taste  of  all  is  shown  in  some  of  the  vases  which  have 
scrolls  and  sham  metal  work  moulded  and  gilded  to  produce  the  effect  of  a porce- 
lain vase  set  in  ormolu  mounts.” 

Chelsea:  “ The  writhing  masses  of  gold  on  Chelsea  ware  are  probably  the  most 
meaningless  and  stupid  attempts  at  decoration  that  have  ever  been  produced.” 

Derby:  “Unfortunately  the  practice  of  printing  the  underglaze  patterns, 
instead  of  painting  them  by  baud,  was  introduced.” 

Worcester:  “Unfortunately  the  old  fault  of  a too  realistically  pictorial  style  of 
painted  decoration  still  prevails,  and  an  immense  amount  of  artistic  skill  and 
patient  labor  is  practically  wasted  in  producing  minute,  but  not  truly,  decorative 
work.” 

Wedgwood:  “He  neglected  the  special  requirements  of  fictile  work.  His  pro- 
ductions, delicate  and  beautiful  as  they  often  are,  have  the  characteristics  of  anything 
rather  than  Pottery.  With  great  labor  and  expense  he  turned  out  from  his  work- 
shops imitations,  necessarily  unsuccessful,  of  ancient  engraved  gems  and  cameos,  of 
jasper,  basalt  or  mottled  marbles,  of  gem-like  cut-glass,  such  as  the  Portland  vase, 
and  dull  copies,  feeble  in  drawing  and  hard  in  texture,  of  beautiful  painted  Greek 
vases.  Of  natural  methods  of  decoration,  suitable  to  pottery,  or  of  the  life  and 
freedom  of  the  plastic  clay  rising  into  graceful  forms  under  the  touch  of  the 
thrower’s  hand,  aided  by  the  rhythmical  movement  of  the  wheel,  he  knew  nothing. 
Nearly  all  his  pottery  is  dully  scholastic  and  archaeological  in  style,  and  therefore 
must,  on  the  whole,  be  regarded  as  a failure,  though  often  a very  clever  and  even 
beautiful  failure.” 

Japanese  Cloissonne:  “A  marvel  of  technical  skill  and  wasted  ingenuity.” 


EARLY  ENGLISH  POTTERY. 


9 


Early  English  Pottery. 


THE  credit  of  having  made  the  first  china  in  England  is  generally  credited 
to  John  Dwight,  who  established  a manufactory  at  Fulham  in  1671;  but 
Mr.  Solon,  in  his  “ Old  English  Potter,”  proves  conclusively  from  exami- 
nation of  the  recipes  left  by  Dwight,  that  the  distinction  has  been  erroneously  attrib- 
uted to  him.  His  stoneware  was,  however,  of  remarkable  excellence,  and  of  his 
figure  of  Meleager  in  the  British  Museum,  Mr.  Solon  says  it  is  worthy  of  an  Ital- 
ian Artist  of  the  Renaissance.  No  light  praise  from  such  an  authority.  Dwight 
unfortunately  was  a man  of  very  secretive  habits  and  much  that  is  valuable  was  lost 
through  his  having  buried  most  of  his  models,  &c.,  just  before  his  death. 

In  Staffordshire,  at  this  period,  common  ware  only  was  produced,  the  most  nota- 
ble being  the  slip  decorated  ware ; when  the  advent  of  the  Elers  Brothers,  who 
came  over  with  the  Prince  of  Orange,  in  1688,  and  a few  years  afterwards  com- 
menced manufacturing  at  Bradwell,  near  Burslem, 
caused  a great  change.  From  the  clay  found  at 
Bradwell  they  made  an  admirable  red  body,  very 
dense  and  semi- vitrified,  and  decorated  with  raised 
designs  made  from  a metal  die.  These  designs 
were  impressed  by  means  of  dies  upon  raised  clay 
on  the  body  of  the  ware  and  were  not  first  made 
from  a mould  and  fixed  on  with  a slip.  The  glaz- 
ing was  effected  by  throwing  a quantity  of  com- 
mon sea  salt  into  the  oven  when  the  heat  was  at 
its  greatest,  the  fumes  fixing  on  the  surface  of  the 
ware,  the  soda  being  decomposed  by  the  action  of 
the  silica  in  the  body,  giving  a granulated  appear- 
ance similar  in  effect  to  the  peel  of  an  orange. 

This  was  the  first  time  salt  glazing  was  practiced  in  Staffordshire,  the  old  myth 
about  its  discovery  by  a servant  of  Yates  having  been  exploded.  Every  possible 
precaution  seems  to  have  been  taken  by  the  Elers  to  prevent  their  secrets 
becoming  known  to  the  Burslem  potters.  Their  store  and  salesroom  at  Dimsdale 
was  a mile  away  from  the  works  and  communication  was  established  by  means  of 
a speaking  tube  composed  of  clay  pipes.  The  goods  were  transferred  at  night  from 
the  works  to  the  storeroom  and  only  to  the  latter  were  strangers  admitted.  In  a 
diary  describing  events  between  1697  and  1703  Celia  Fiennes  writes:  11 1 went  to 
this  Newcastle  in  Staffordshire  to  see  the  making  of  ye  fine  tea  potts,  Cups  and  Sauc- 
ers of  ye  fine  red  Earth  in  imitation  and  as  Curios  as  yt  wch  comes  from  China,  but 
was  defeated  in  my  design,  they  coming  to  an  End  of  their  Clay  they  made  use  of 
for  yt  sort  of  ware,  and  therefore  was  removed  to  some  other  place  where  they 
were  not  settled  at  their  work  so  Could  not  see  it.”  The  gentle  Celia  was  evi- 
dently purposely  misled,  for  long  after  the  Elers  left  (in  1710)  Astbury  and  others 
continued  to  use  the  clay,  and  even  at  the  present  day  there  are  as  many  teapots 
there  as  were  ever  taken  out  of  it.  Only  the  least  intelligent  workmen  were 
employed  by  the  Elers  as  helpers,  but  in  spite  of  every  precaution  two  potters 


10 


ROUGH  NOTES  ON  POTTERY. 


named  Astbury  and  Twyford,  simulating  idiocy,  obtained  employment  and  man- 
aged to  learn  the  secrets  of  the  foreigners.  In  1 710  the  Elers  left  Burslem,  John  Philip 
eventually  starting  and  prospering  as  a glass  and  china  dealer  in  Dublin.  The 
ware  produced  by  the  Elers  was  light  and  delicate,  chiefly  small  pieces  such  as 
teapots,  &c.,  simple  and  unpretentious,  but  on  account  of  the  peculiar  decoration 
it  had  a certain  character  of  its  own  and  found  sale  at  remunerative  prices,  teapots 
selling  in  London  for  21/s.  Every  piece  was  thrown  and  turned,  no  moulds  were 
used,  even  the  handles  being  made  by  hand.  ( See  illustration  p.  9.)  They  also 
produced  a very  good  black  ware. 

The  manufacture  of  salt  glazed  ware  now  became  general,  and  much  inge- 
nuity and  skill  was  displayed  in  the  production  of  models  worthy  of  the  new 
glaze.  The  Elers  had  numerous  imitators  and  the  trade  which  had  been  exclu- 
sively local  now  took  a wider  range.  It  also  stimulated  the  potters  to  a desire  to 
improve  their  productions,  and  many  processes  were  considerably  improved.  Local 
clays  had  been  exclusively  used,  but  to  procure  greater  whiteness  clays  were 
obtained  from  Devon  and  then  came  in  1720  John  Astbury’s  important  discovery 
of  the  use  of  flint.  Whilst  traveling  to  London  on  horseback — and  he  was  proba- 
bly the  first  pottery  drummer  who  ever  started  out  from  Staffordshire — he  had  occa- 
sion to  seek  the  assistance  of  a hostler,  in  consequence  of  some  disease  in  his 
horse’s  eyes.  He  noticed  that  the  man  took  a piece  of  flint,  and  burned  it  to  a 
fine  powder  and  blew  it  into  the  horse’s  eyes.  Astbury  noticing  the  beautiful 

whiteness  of  the  powder  conceived 
the  idea  of  using  it  in  his  pottery. 

The  experiments  he  subsequently 
made  were  eminently  successful. 
Wedgwood’s  improvement  of  cream 
color  pales  into  insignificance  beside 
a discovery  such  as  Astbury’s,  and 
though  the  manner  in  which  he 
obtained  his  information  from  the 
Elers  is  open  to  criticism,  his  sub- 
sequent discoveries  and  improve- 
ments, in  which  the  whole  dis- 
trict shared,  should  give  him  a prominent  position  amongst  the  old  Staffordshire  i 
potters.  Many  writers  credit  this  discovery  to  his  son,  but  this  is  plainly  an  error. 
Astbury’s  son  Thomas,  the  only  one  of  whom  we  have  any  information,  had  a busi- 
ness at  Lane  Delph  in  1725,  improved  on  his  father’s  ware  and  gave  it  the  name  of 
“ Cream  color.”  He  made  a great  variety  of  goods,  red  and  black  bodies,  white 
stone  ware  with  salt  glaze  and  cream  color,  decorated  with  tortoiseshell  enamel. 
Amongst  his  contemporaries  were  Kalph  Shaw,  who  invented  the  slip  kiln  and  in  a 
primitive  form  the  use  of  stilts,  &c.,  in  firing ; John  and  Thomas  Wedgwood,  who  by 
their  experiments,  particularly  with  clays,  advanced  considerably  the  quality  of  the 
body,  and  Whieldon,  whose  name  more  than  any  other  is  associated  with  early  Staf- 
fordshire history.  He  was  a manufacturer  at  Little  Fenton,  and  Astbury,  Spode  and 
many  other  well  known  potters  served  their  apprenticeship  to  him.  Josiah  Wedg- 
wood when  quite  a young  man  was  his  partner,  and  during  this  time  his  mottled 
and  other  wares  were  of  high  character.  His  early  productions  consisted  of  knife 


EARLY  ENGLISH  POTTERY. 


11 


handles,  snuff  boxes,  &c.,  in  a beautiful  tortoiseshell  enamel,  and  these  he  usually 
carried  around  himself  in  a basket  and  being  much  like  agate  they  found  a ready  sale. 

“ Rough  potters  seemed  they,  trading  soberly, 

With  panniered  asses  driven  from  door  to  door.” — Wordsworth. 

He  successfully  imitated  the  Chinese  double  shell  teapots  the  outer  one 
pierced  with  a design  of  leaves,  &c.,  covering  the  shape  with  a sort  of  lace  work, 
very  effective  in  appearance  and  really  admirable  specimens  of  the  potter’s  art. 

Turning  from  the  Earthenware  to  China,  about  the  middle  of  the  century  the 
Chelsea,  Worcester  and  Derby  works  were  started,  and  these  are  all  treated  under 
their  respective  headings.  From  1760  to  1772,  William  Cookworthy  manufactured 
at  Plymouth  and  Bristol  (plate  1,  figures  6 and  7)  the  first  hard  porcelain  ever  made 
in  England,  having  discovered  the  half  decomposed  Kalonic  clay  in  Cornwall. 
He  disposed  of  his  patent  to  Richard  Champion,  who  in  turn  sold  it  to  a company  of 
Staffordshire  potters — Enoch  Wood  amongst  the  number — who  commenced  its 
manufacture  at  Keeling’s  pottery  at  Tun  stall  ; but  in  consequence  of  a disagree- 
ment between  the  partners  it  was  transferred  to  the  New  Hall  Works,  Hanley. 
Here  china,  precisely  similar  in  body  and  glaze  to  that  made  at  Bristol,  was  pro- 
duced under  the  direction  of  Champion  from  1778  to  1810,  when  bone  china  super- 
seded it.  The  manufacture  ceased  altogether  in  1825,  and  a part  of  the  premises 
are  now  occupied  by  Thomas  Booth  & Son. 

Early  in  1700  Liverpool  had  extensive  manufactories  of  Delft  ware,  though 
even  in  the  previous  century  some  pieces  were  made  there,  a Delft  mug  in  the  Liver- 
pool Museum,  marked  “John  Williamson  1645,” 
being  generally  considered  as  of  local  make.  But 
it  was  not  until  Sadler’s  invention  of  printing  from 
copper  plates  that  the  art  assumed  importance. 

Wedgwood,  amongst  many  others,  sent  his  ware  to 
be  printed  at  Liverpool.  Richard  Chaffers  was 
then  established  as  a manufacturer  and  in 
the  matter  of  colors  Wedgwood  regarded  him  as 
no  mean  rival.  About  1760,  Pennington  (plate 
4,  figure  12)  was  making  Delft,  and  appears  to 
have  divided  the  honors,  especially  in  punch  bowls, 
with  his  rival,  Shaw.  He  eventually  returned  to 
Worcester.  In  1790,  Richard  Abbey  established  a 
pottery,  which  in  1797  passed  into  the  hands  of 
Messrs.  Worthington,  who  called  it  the  Hercu- 
laneum Pottery  (plate  4,  page  14)  making  a good 
quality  of  printed  and  painted  earthenware,  jugs 
with  base  relief  figures  and  terra  cotta.  The 
workmen  were  brought  from  Staffordshire,  performing  the  journey  in  canal  boats. 
In  1833  the  works  passed  into  the  hands  of  Case,  Mort  & Co.,  who  used  the  liver  as 
a trademark,  (plate  4,  figure  13).  In  1836,  another  change  in  the  proprietary  took 
place  and  the  works  were  finally  closed  in  1841. 

At  Leeds,  as  early  as  1770,  considerable  progress  had  been  made  especially  in 
that  pure  cream  color  ware  with  either  embossed  or  pierced  edges,  for  which  it 
attained  so  considerable  a celebrity. 


12 


ROUGH  NOTES  ON  POTTERY. 


At  Swinton,  near  Rotherham,  late  in  the  last  century,  was  produced  that  beau- 
tiful brown  glaze,  afterwards  designated  as  Rockingham,  and  which  has  since  been 
imitated  by  nearly  every  pottery,  but  the  care  taken  in  its  original  production  is 
lacking,  and  the  Rockingham  of  to-day  no  more  resembles  the  original  than  “ C.  C.” 
does  the  finest  china.  They  also  produced  at  Swinton  some  very  finely  dec- 
orated earthenware  vases,  and  in  1825  added  the  manufacture  of  china.  The  artis- 
tic element  prevailed  to  such  an  extent,  that  quite  as  important  a part,  that  of 
commercialism,  was  overlooked,  with  the  inevitable  results.  (Plate  4,  figure  39). 


STAFFORDSHIRE. 


13 


Staffordshire. 

Josiah  Wedgwood. 


No  potter  has  had  more  worthy  historians 
than  Josiah  Wedgwood.  Meteyard,  Jewitt  and 
Smiles  have  each  written  con  amove.  The  story 
of  his  life  has  been  told  so  well,  so  often,  and 
with  such  a measure  of  appreciation  that  the 
present  sketch  fulfills  its  purpose,  if  it  incites 
the  reader  to  a closer  acquaintance  with  the 
subject.  There  had  been  Wedgwoods  before 
him  in  the  pottery  business,  and  more  than  one 
has  left  his  imprints  on  the  sands  of  time.  The 
first  example  of  pottery  bearing  the  name  of 
Wedgwood  is  a puzzle-jug  of  brown  ware,  the 
name  “ John  Wedgwood,  1691,”  being  incised 
in  the  clay.  John  and  Thomas  Wedgwood  in 
1740  were  experimenting  with  and  testing  the 
qualities  of  various  clays,  and  were  the  first  pot- 
ters in  Staffordshire  who  had  a tiled  roof  to  their 
straw-thatched.  Dr.  Thomas  Wedgwood  was 
looked  upon  as  the  leading  potter  of  Burslem,  and  made  good  agate  ware  and  pieces 
in  the  style  of  the  Elers.  Aaron  Wedgwood  discovered  that  “ C.  C.”  could  be  made 
white  by  adding  zaffre  to  the  glaze,  and  he  was  the  first  to  glazeware  by  immersion. 

Josiah  Wedgwood  was  bom  at  Burslem,  July  12,  1730,  the  youngest  of  thirteen 
children.  When  his  father,  Thomas  Wedgwood,  died,  in  1739,  Josiah  was  taken 
away  from  school,  so  that  it  was  entirely  by  his  own  efforts  he  acquired  the  educa- 
tion that  he  possessed  later  in  life.  Shortly  afterwards  he  was  employed  in  his 
brother’s  factory,  and  early  developed  a taste  for  modeling,  and  in  his  fourteenth 
year  was  apprenticed  to  him  as  a thrower.  Three  years  previously,  in  1741,  he 
had  a virulent  attack  of  small-pox,  which  left  a distressing  pain  and  weakness  in 
his  right  knee,  and  this  interfered  so  much  with  his  work  that  he  was  obliged  to 
give  up  the  thrower’s  bench  and  become  a moulder.  Much  of  his  time  was  spent  in 
experimenting  with  different  clays,  and  when,  in  1749,  his  apprenticeship  ended, 
his  brother  was  so  opposed  to  his  “ flights  of  fancy  ” that  he  declined  to  take  him 
as  a partner.  He  continued  to  work  at  the  bench,  studying  hard  in  the  meantime, 
and  when  he  was  twenty-two  he  entered  into  partnership  with  John  Harrison,  of 
Cliff  Bank,  near  Stoke.  Two  years  later,  Harrison,  not  satisfied  with  his  share  of 
the  profits,  withdrew,  and  the  works  were  shortly  afterwards  pulled  down.  In 
1754,  Wedgwood  formed  a new  partnership,  this  time  with  Thomas  Whieldon,  of 
Fenton,  one  of  the  most  eminent  potters  of  the  day,  and  the  man  above  all  others 
calculated  to  encourage  Wedgwood  in  his  efforts  to  advance  their  art.  He  pro- 
duced a beautiful  green  glaze  for  earthenware,  and  an  imitation  of  precious  stones 
applied  to  small  articles  for  mounting.  His  knee  so  troubled  him  as  to  necessitate 


Wcdgwond 


works,  all  having  hitherto  been 


14 


ROUGH  NOTES  ON  POTTERY. 


frequent  absences  from  the  factory,  and  he  was  obliged  to  confide  his  secret  to 
others,  and  in  a short  time  green  glaze  was  largely  made  at  other  factories.  His 
investigations  in  other  directions  he  steadily  and  persistently  pursued,  never  con- 
tent with  what  he  had  accomplished,  striving  always  after  new  bodies  and  glazes, 
and  to  advance  the  art  to  which  he  had  devoted  himself.  At  the  expiration  of  the 
term  of  partnership  in  1759,  Whieldon  retired  with  a considerable  fortune.  Wedg- 
wood returned  to  Burslem  and  rented  part  of  the  Ivy  House  Works,  where  he  made 
his  own  models,  saw  to  the  firing  and  superintended  everything.  Here,  amongst 
other  things,  he  made  perforated  dessert-plates  and  white  medallions,  and  had  soon 
to  considerably  increase  his  force  and  enlarge  his  works.  His  fertile  brain  was  con- 
stantly at  work,  either  on  new  mixtures,  improving  the  tools  used  in  manufacturing, 
or  on  plans  for  bettering  the  means  of  communication  with  the  outside  world,  for 
the  want  of  this  latter  was  a serious  obstacle  in  the  development  of  its  trade,  which, 
thanks  to  his  efforts,  had  now  considerably  increased.  The  lanes  leading  out  of 
Burslem  were  narrow  and  tortuous,  and  on  account  of  their  roughness  the  horses 
laden  with  clay  or  pottery  frequently  fell  down.  Slow  progress  only  could  be 
made,  the  expense  of  transportation  was  necessarily  great,  and  vexatious  delays 
were  more  the  rule  than  the  exception.  Mainly  owing  to  his  strenuous  exertions, 
these  lanes  and  bye-paths  gradually  gave  place  to  good  highways,  and  later,  the 
cutting  of  the  Grand  Trunk  Canal,  of  which  he  turned  the  first  sod,  made  commu- 
nication easier  and  cheaper.  But  this  was  the  result  of  the  hardest  kind  of  work 
and  took  years  to  accomplish.  In  1763  Wedgwood  greatly  improved  the  quality  of 
table  earthenware,  and  the  Queen,  to  express  her  approval  of  a service  he  presented 
to  her,  ordered  it  to  be  called  Queensware.  It  quickly  came  into  general  use,  and 
large  quantities  were  sent  to  Sadler  and  Green,  of  Liverpool,  to  be  printed  ; but  the 
expense  and  loss  on  the  double  journey  were  too  inconvenient,  and  he  acquired  the 
right  to  use  the  process  himself.  About  this  time,  in  a journey  to  Liverpool,  Wedg- 
wood’s knee  was  crushed  against  the  wheel  of  a cart,  inflammation  set  in,  and  he 
was  confined  to  his  room  in  Liverpool  for  some  time.  It  was  then  he  made  the 
acquaintance  of  his  future  partner  Bentley,  whom  he  appointed  as  his  Liverpool 
agent.  A great  friendship  sprung  up  between  the  two,  a friendship  delightful  to 
contemplate  between  the  inventive,  self-educated  potter,  and  the  polished  man  of 
the  world,  educated  and  refined,  a contributer  to  the  leading  journals  of  the  day, 
whose  courtly  manners  gave  an  added  charm  to  Wedgwood’s  triumphs.  Henceforth 
Wedgwood  took  no  important  step  without  consulting  him,  and  shortly  afterwards 
a partnership  was  formed  between  them,  so  far  as  the  ornamental  part  of  the  work 
was  concerned,  Bentley  residing  in  London  and  having  full  charge  of  the  show- 
rooms, and  also  the  works  which  Wedgwood  started  at  Chelsea,  where  a number  of 
modelers  and  artists  were  employed.  (Plate  4,  fig.  20).  Wedgwood  was  the  first  to 
adapt  the  turning-lathe  to  the  manufacture  of  pottery,  and  by  its  aid  his  copies  of 
antique  vases,  which  had  already  acquired  much  notice,  were  vastly  improved. 
One  of  his  great  ambitions  was  to  revive  the  classical  Greek  works  and  thanks  to 
the  Koyal  patronage  bestowed  upon  him,  many  eminent  scholars  and  owners  of  pre- 
cious antiques  rendered  him  important  help.  Models  were  supplied  him,  and  these 
he  reproduced  with  so  much  fidelity,  and  with  such  an  appreciation  of  their  beauty 
that  a great  demand  sprang  up  for  them.  He  was  kept  busy  day  and  night;  a large 
export  trade  was  developed;  artists  of  ability  flocked  to  Burslem,  and  not  only 


STAFFORDSHIRE. 


15 


Wedgwood,  but  other  factories,  whose  owners  had  reaped  the  benefit  of  his  experi- 
ments, grew  inadequate  t~  meet  the  demand;  the  population  largely  increased  and 
a period  of  prosperity  reigned.  Not  being  able  to  find  suitable  premises  in  Burs- 
lem,  he  purchased  the  Ridgehouse  estate,  two  miles  distant,  and  erected  there  a vil- 
lage and  factory  that  he  christened  Etruria.  Wedgwood  married  a distant  connec- 
tion, Sarah  Wedgwood,  January  29,  1764,  and  she  was  in  all  respects  all  that  man 
could  desire.  Handsome  and  finely  educated,  she  entered  heartily  into  her  hus- 
band’s plans,  learned  his  cipher,  so  as  to  relieve  him  at  his  work,  nursed  him  with 
unfailing  tenderness,  cheered  and  encouraged  him,  and  proved  herself  one  of  the 
best  and  tenderest  of  wives.  His  leg  still  troubled  him,  and  his  eyes  also  constantly 
failed  him,  but  his  dauntless  courage  never  forsook  him,  and  he  not  only  continued 
but  enlarged  his  studies.  Four  years  afterward  his  leg  was  amputated,  and  hence- 
forth he  walked  through  life  with  a wooden  leg;  and  surely  never  wooden  leg  has 
left  such  echoes  down  the  corridors  of  time.  The  doctors  could  afford  him  little 
relief  for  his  eyes,  and  we  find  him  urging  Bentley  to  come  to  Etruria  and  acquaint 
himself  with  its  secrets,  so  that  he  could  at  any  time  continue  the  works.  Wedg- 
wood’s opposition  to  the  extension  of  Cookworthy’ s patent  for  the  manufacture  of 
china,  applied  for  in  1753,  by  Richard  Champion,  to  whom  Cook  worthy  had  trans- 
ferred it,  has  been  severely  criticised  as  factious  in  the  extreme;  but  when  it  is 
remembered  that  of  all  Wedgwood’s  inventions  and  improvements  he  only  pat- 
ented one  unimportant  one,  it  is  evident  that  he  was  prompted  only  by  a desire  for 
the  general  good,  and  was  strong  in  his  convictions  that  if  the  raw  materials  were 
thrown  open  to  all : “ a variety  of  experienced  hands  would  probably  produce  more 
advantage  to  the  Nation  in  a few  years  than  they  would  ever  do  when  confined  to 
one  manufactory,  however  skillful  the  director  might  be.  ’ ’ And  though  the  Lords  and 
Commons  said  “No,”  Wedgwood  was  undoubtedly  right.  His  discovery  of  “ Jas- 
per,” gave  additional  impetus  to  the  Etruria  works,  but  cobalt,  by  which  the  body 
was  stained,  was  an  expensive  material,  and,  in  1777,  he  invented  a jasper  dip. 
Jasper  is  composed  of  sulphate  and  carbonate  of  baryta  in  combination  with  flint 
and  clay,  stained  with  oxide  of  cobalt.  It  has  the  peculiar  property  of  receiving 
through  its  whole  substance  a metallic  coloring  matter,  which  no  other  body,  ancient 
or  modern,  possesses.  The  secret  of  its  manufacture  was  preserved  at  Etruria  for 
about  twelve  years.  Flaxman  and  other  artists  furnished  designs  for  bas-reliefs, 
cameos,  etc. , and  the  highest  possible  standard  of  excellence  was  insisted  on  and 
maintained.  Whenever  apiece  that  did  not  come  up  to  his  standard  of  excellence 
caught  Wedgwood’s  eye  in  his  peregrinations  through  the  works,  to  make  assurance 
doubly  sure  he  would  smash  it  with  the  cane  he  was  in  the  enforced  habit  of  car- 
rying. His  crowning  achievement  in  Jasper,  the  copying  of  the  Portland  vase,  a 
full  account  of  which  is  given  elsewhere,  is  so  well  known  as  to  need  but  passing 
notice  here,  except  perhaps  to  record  the  date,  1790. 

“Bid  mortality  rejoice  or  mourn 
O’er  the  fine  form  of  Portland’s  mystic  urn.” — Darwin. 

It  is  by  Jasper  that  Wedgwood’s  name  is  best  known,  though,  in  the  course  of 
his  busy  life,  he  found  time  to  perfect  an  Egyptian  black  body  ; improve  the  quality 
of  table  earthenware ; make  a cane-colored  biscuit  and  terra  cotta,  and  a hard  por- 
celain for  crucibles;  invent  an  instrument  for  measuring  the  heat  during  the  firing 


16 


ROUGH  NOTES  ON  POTTERY. 


of  the  ware  ; make  a journey  to  Cornwall  to  investigate  the  clays  found  there,  and 
another  to  Meissen  with  a view  of  purchasing  and  working  the  Royal  works  there. 
He  was  also  an  enthusiastic  and  liberal  supporter  of  slavery  abolition,  was  treasurer 
of  the  Grand  Trunk  Canal  and  a member  of  many  learned  societies.  He  died 
January  3,  1775,  aged  sixty-five,  and  was  buried  in  the  old  parish  Church,  at  Stoke. 
Five  years  previously  he  had  taken  into  partnership  his  three  sons,  John,  Josiah  and 
Thomas,  and  his  nephew  Byerley.  John  and  Thomas  retired,  and  the  firm  became 
Josiah  Wedgwood,  Son  & Byerley. 

His  influence  on  English  pottery  can  hardly  be  overestimated.  Nearly 
always  racked  with  pain,  at  times  almost  blind,  with  only  the  most  rudimentary 
education,  by  his  genius,  his  incomparable  patience,  with  the  most  marvellous  rapidity 
of  conception  and  adaptability  he  recovered  much  that  was  deemed  lost,  and  added 
new  standards  of  excellence  in  ceramics  that  will  endure  for  all  time.  But  if  you 
would  know  more  of  this  wonderful  man,  of  his  home-life,  of  his  love  and  friend- 
ship, of  his  early  struggles,  his  care  for  his  workmen  and  of  his  ultimate  triumph, 
and  care  but  little  for  the  technicalities  of  his  art,  read  Smile’s  story  of  his  life. 

One  is  apt  to  grow  enthusiastic  over  such  a subject,  but  in  forming  an  estimate 
of  Wedgwood’s  influence  on  English  Ceramics  we  must  be  careful  not  to  let  our 
enthusiasm  outweigh  our  judgment.  And  in  this  consideration,  John  Dwight,  of  Ful- 
ham, is  an  important  factor.  So,  too,  are  Whieldon  and  Astbury.  The  life  of  the 
latter,  if  it  is  ever  written,  will  be  of  absorbing  interest  and  tinged  with  romance  for 
which  I know  no  parallel  in  industrial  biography. 

After  the  death  of  Wedgwood  the  management  developed  upon  Thomas 
Byerley,  who  died  in  1810.  In  1823  the  third  Josiah  Wedgwood  became  a partner, 
and  four  years  later  his  brother  Francis  was  admitted,  and  the  firm  name  was 
changed  to  Josiah  Wedgwood  & Sons.  In  1809  the  manufacture  of  china  was  com- 
menced, only  however  to  be  abandoned  nine  or  ten  years  later.  About  ten  years 
ago  it  was  revived.  John  Boyle  and  Robert  Brown  were  both  partners  for  a few 
years,  the  firm  eventually  consisting  of  the  present  members,  sons  of  Francis 
Wedgwood,  Godfrey,  Clemence  and  Lawrence.  In  1860,  Majolica  was  added  to  the 
firm’s  productions,  and  in  1865  was  revived  the  solid  jasper  body. 

Lessore,  an  exhibitor  in  the  Paris  Salon  of  1831,  and  an  artist  of  great  ability, 
disgusted  with  the  divisions  caused  amongst  the  Sevres  artists  by  his  originality  in 
decorating  pottery,  came  to  England  in  1858,  and  after  being  a short  time  at  Min- 
tons, settled  down  at  Wedgwoods’.  His  works  were  highly  prized  on  account  of 
their  originality  and  breadth  of  treatment,  he  being  the  first  artist  to  employ  free 
brush  work  on  pottery,  paintings  having  hitherto  been  mostly  in  miniature  and 
very  highly  finished.  He  died  in  1876. 

Mr.  Thomas  Allen  about  the  same  year  was  engaged  as  principal  figure  painter 
and  Art  Director.  He  is  a talented  artist  of  original  conception  and  artistic  exe- 
cution, careful  in  drawing  and  composition  and  has  produced  a number  of  important 
pieces,  of  which  one,  “Orpheus  and  Eurydice,”  dwells  particularly  in  my  memory. 

For  the  rest,  old  models,  old  engravings  and  old  methods  are  paramount  at 
Etruria.  (See  Plate  3,  Fig.  18.) 

There  are  two  monuments  to  Josiah  Wedgwood:  a statue  in  bronze  in  the 
Station  Square  at  Stoke,  and  the  more  important  one  at  Burslem,  the  Wedgwood 
Memorial  Institute. 


17 


18 


ROUGH  NOTES  ON  POTTERY. 


Mintons. 


TEN  years  before  the  death  of  Wedgwood  there  was  working  for  the  Spode 
factory  an  engraver  named  Thomas  Minton,  who  was  destined  to  start  an 
industry  the  beauty  and  extent  of  which  he  probably  never  dreamed  of. 
In  1788  he  erected  at  Stoke  a house  and  works  on  the  site  which  has  since 
become  so  celebrated.  Wedgwood  was  then  in  his  zenith.  Spode  and  the  Ridg- 
ways  had  already  obtained  some  celebrity  for  earthenware,  while  in  china,  Derby, 
Worcester  and  Caughley  divided  the  honors.  In  1790  Thomas  Minton  entered  into 
partnership  with  Joseph  Poulson,  who  had  been  manager  for  Spode’s,  and  they 
were  joined  in  1793  by  Mr.  Pownall,  who  retired  in  1800.  Poulson  died  in  1809, 
leaving  Thomas  Minton  to  conduct  the  business  alone.  Up  to  1798  earthenware 
alone  had  been  made,  and  the  staple  of  the  business  consisted  of  white  ware  orna- 
mented with  blue,  in  imitation  of  Nankin,  and  the  abilities  and  experience  of 
Thomas  Minton  as  an  engraver  had  acquired  for  the  firm  a good  commercial  repu- 
tation. In  1798  the  manufacture  of  semi-transparent  china  was  commenced,  but  it 
was  not  a success  and  was  abandoned  in  1811. 

Thomas  Minton  had  two  sons,  Thomas  Webb  and  Herbert,  the  latter  born 
Feb.  4,  1793.  Both  were  admitted  into  partnership  with  their  father  in  1817, 
Thomas  W.  retiring  in  1821,  to  enter  the  church ; and  Herbert,  owing  to  family  cir- 
cumstances, nominally  retiring  from  1823  to  1831,  when  on  his  father’s  death  he 
succeeded  to  the  business.  He  shortly  afterwards  admitted  as  a partner  Mr.  John 
Boyle,  who  remained  for  about  five  years  and  then  joined  the  firm  of  Wedgwood, 
his  place  being  taken  by  Mr.  Minton’s  nephew,  Mr.  Michael  Daintry  Hollins,  a gen- 
tleman whose  genius  and  skill  as  a chemist  have  not  received  the  recognition  they 
deserve,  and  but  for  whom  Minton’s  triumphs  would  probably  never  have  reached 
the  perfection  they  attained,  though  to  his  credit  be  it  said  that  Herbert  Minton 
himself  was  always  ready  to  acknowledge  his  great  obligations.  In  its  last  phase 
the  firm  for  the  ten  years  preceding  his  death  consisted  of  Mr.  Minton  and  his  two 
nephews,  Mr.  Hollins  and  Mr.  Colin  Minton  Campbell. 

No  better  estimate  of  the  character  of  Herbert  Minton  and  his  influence  on 
ceramic  art  is  to  be  found  than  the  eulogy  pronounced  by  the  eminent  critic,  Mr. 
Digby  Wyatt,  who  said  : 11  Mr.  Herbert  Minton’s  industrial  career  as  assistant  and 
principal,  may  be  looked  upon  as  extending  over  some  fifty  years  of  the  present 
century,  a period  hitherto  without  a rival  in  the  history  of  civilization — one  of 
social  progress  and  commercial  development,  of  restless  energy  of  thought  and 
untiring  labor,  crowned  by  innumerable  conquests  of  mind  over  matter.  Of  that 
apparently  inexhaustible  activity,  intellectual  and  physical,  which  has  formed  the 
dominant  characteristic  of  the  past  half  century,  Mr.  Minton  offered  a perfect 
type,  and  it  was  rather  through  this  element  than  any  other  that  his  influence  was 
so  powerful  as  a stimulant  and  fertilizer.  Neither  a man  of  profound  research  nor 
an  educated  artist,  neither  an  economist  nor  an  inventor,  by  courage  and  ceaseless 
energy  he  brought  to  bear  upon  the  creation  of  his  ultimately  colossal  business, 
such  a combination  of  science,  art,  organization  and  invention  as  can  be  paralleled 
only  by  that  rare  union  of  qualities  which  impressed  the  stamp  of  genius  upon  his 


MINTON*. 


19 


great  predecessor,  Josiah  Wedgwood.  A clear  head,  a strong  body,  rare  powers  of 
endurance  and  observation,  a cool  judgment,  in  spite  of  a singularly  sanguine  tem- 
perament, a kindly  nature  and  genial  manner,  were  the  leading  characteristics  of 
Mr.  Minton  ; and  with  such  natural  gifts,  and  an  amount  of  perseverance  to  which 
I know  no  parallel  in  history  (excepting,  perhaps,  that  displayed  by  the  celebrated 
potter,  Bernard  Palissy),  he  was  enabled  to  benefit  his  country,  while  building  up 
his  own  fortune,  and  to  do  credit  to  the  age  in  which  he  was  born,  thereby  winning 
lasting  honor  for  his  memory.” 

At  the  beginning  of  the  eighteenth  century  the  Minton  works  gave  employ- 
ment to  just  about  fifty  hands.  At  Herbert  Minton’s  death  upwards  of  fifteen  hun- 
dred were  in  active  employment.  It  is  computed  that  in  1840,  the  value  of  English 
ceramic  exports  amounted  only  to  about  £573,000,  while  in  1858  they  were  about 
two  and  a half  million  pounds  sterling,  and  undoubtedly  to  this  large  increase  Mr. 
Minton’s  activity  largely  contributed. 

In  1848  Minton  was  fortunate  enough  to  secure  the  services  of  Mr.  Leon 
Arnoux,  a gentleman  who  had  long  enjoyed  the  reputation  of  being,  perhaps,  more 
profoundly  versed  in  the  mysteries  of  ceramic  manufacture  than  any  other  savant 
in  France.  Engaged  originally  as  the  potter  of  the  establishment,  he  displayed 
such  a thoroughly  artistic  training  that  he  was  reluctantly  induced  to  combine  with 
it  the  post  of  art  director,  a reluctance  difficult  to  understand,  as  it  was  impossible 
to  overrate  his  eminent  fitness  for  the  position.  Mr.  Arnoux,  with  great  heartiness, 
entered  into  his  principal’s  views,  and  too  large  a measure  of  praise  cannot  be 
allotted  to  him  for  his  unrivaled  skill  and  artistic  execution.  He  might  fitly  be 
compared  to  the  steam  that  drove  the  machinery.  Death  has  but  a year  or  two  ago 
severed  his  connection  with  the  firm,  and  it  may  be  of  interest  here  to  quote  his 
vindication  of  the  peculiar  class  of  body  of  which  English  china  is  made. 

Mr.  Arnoux  says:  ‘‘Certain  very  particular  amateurs  bring  an  objection 

against  British  porcelain,  and  say  that,  as  it  has  phosphate  of  lime  for  its  base 
instead  of  being  composed  entirely  of  pate  frittee , it  has  no  claim  to  be  called  pate 
tendre.  This  objection  appears  to  be  nearly  groundless.  The  chief  beauty  of  the 
pate  tendre  consists  of  the  complete  amalgamation  of  the  colors  with  the  glaze,  and 
also  in  its  capability  of  receiving  certain  tints  which  cannot  be  applied  to  any 
other  kind  of  porcelain,  such  as  turquoise  blue,  emerald  green  and  rose  du  Barry. 
If  our  porcelain  combines  these  qualities  in  the  highest  degree — if  its  whiteness  and 
transparency  have  been  increased  by  the  employment  of  phosphate  of  lime,  who 
has  any  reason  to  complain  ? Our  productions  possess  all  the  advantages  of  the  old 
porcelain,  and  have,  in  addition,  several  accessory  ones.  We  shall  therefore  do 
wisely  to  uphold  this  manufacture,  since  it  brings  us  nearer  to  perfection.” 

In  1821  the  manufacture  of  china  was  resumed,  the  earlier  patterns  being  imi- 
tations and  adaptations  from  old  Derby  china.  A few  years  later,  when  the  Derby 
factory  began  to  decline,  many  of  the  workmen  joined  the  Minton  works,  and  the 
decorations  rapidly  improved.  Bancroft,  Steel  and  Hancock  were  among  the  prin- 
cipal fruit  and  flower  painters ; John  Simpson  was  the  principal  figure  painter  from 
1837  to  1847  and  Samuel  Bourne  was  designer-in-chief.  He  was  succeeded  by  M. 
Jeannest,  an  industrial  artist  of  great  ability.  M.  Carrier — now  Carrier-Belleuse — 
was  soon  after  the  chief  modeler,  and  it  is  a tribute  to  his  skill  and  the  grace  with 
which  he  invested  his  productions  that  they  have  remained  to  this  day  in  popular 


20 


ROUGH  NOTES  ON  POTTERY. 


demand.  Nor  should  the  name  of  M.  Protat  be  omitted.  The  quality  of  the  body, 
the  beauty  of  the  glaze,  were  both  improved,  and  colors,  before  but  imperfectly 
realized,  were  produced  iu  great  purity.  The  jurors’  award  of  the  exhibition  of 
1851  was  a fitting  acknowledgment  of  the  credit  due  to  Mr.  Minton  for  the  progress 
made  in  the  ceramic  art.  (See  Plate  4,  Figs.  18,  19.) 

In  1849,  with  the  assistance  of  Mr.  Arnoux,  Mr.  Minton  resumed  the  attempt 
to  make  hard  porcelain,  and  succeeded  so  well  that  in  1851  vessels  for  the  labora- 
tory were  exhibited  and  pronounced  by  experts  as  superior  to  those  of  Meissen  and 
Berlin,  which  had  formerly  been  imported  in  large  quantities,  about  £60,000  worth 
annually.  About  the  same  time  the  manufacture  of  Parian  was  commenced,  of 
which  we  have  spoken  freely  in  the  article  under  that  heading. 

But  the  crowning  glory  of  his  life  and  works  was  the  revival  of  the  manufac- 
ture of  encaustic  tiles.  Mr.  S. Wright  some  years  previously  had  taken  out  a patent 
for  their  manufacture  as  an  original  invention,  but  only  such  specimens  were 
obtained  as  encouraged  the  hope  that  success  might  ultimately  be  obtained.  From 
him  Mr.  Minton  purchased  the  patent  and  set  to  work  with  a fixed  determination 
to  succeed.  He  had  then  to  solve  the  problem  of  firing  the  various  colored  clays  so 
as  to  insure  perfect  uniformity  of  color  throughout  the  body,  to  so  temper  them  as 
to  prevent  and  correct  the  irregularities  of  shrinkage,  induced  by  the  different 
materials  used  to  produce  the  desired  colors,  and  to  extend  the  range  of  colors  used 
by  the  potters  of  the  middle  ages.  After  months  of  patient  research,  of  failure  and 
disappointment,  success  eventually  crowned  his  efforts,  and  Minton  tiles  are  known 
and  used  the  whole  world  over.  Many  difficulties  were  encountered,  difficulties 
of  too  technical  a character  to  enumerate  here,  but  Mr.  Minton’s  dogged  determi- 
nation, aided  by  the  valuable  service  and  knowledge  of  both  Mr.  Arnoux  and  Mr. 
M.  D.  Hollins,  triumphed  over  all,  and  the  honors  are  fairly  divided  among  them. 
Toward  the  close  of  the  term  for  which  the  patent  had  been  taken  out,  Mr.  Minton 
allowed  the  Worcester  Porcelain  Company  to  manufacture  encaustic  tiles  under  a 
license,  but  the  Worcester  clays  were  unsuitable  and  they  abandoned  the  manufac- 
ture, and  were  succeeded  by  Maw  & Co.,  who  shortly  after  removed 
to  Broseley. 

About  1840  Mr.  Prosser  patented  a process  for  solidifying  china  clay  in  dry 
powder  by  subjecting  it  to  great  pressure  in  iron  molds,  obtaining  a substance  of 
extraordinary  density  and  evenness  of  texture.  This  Minton  purchased  and  used 
for  the  manufacture  of  buttons,  of  which  exceedingly  large  quantities  were  pro- 
duced. Later,  it  was  applied  to  the  manufacture  of  tesserse,  for  the  formation  of 
pavements,  in  imitation  of  those  of  the  ancients. 

Some  specimens  of  majolica  ware,  which  had  formed  part  of  the  collection  of 
the  Duke  of  Buckingham,  coming  into  the  hands  of  Mr.  Minton,  he  determined  to 
reproduce  them,  and  with  what  success  is  well  known.  For  fifteen  years  he  was 
the  only  manufacturer  of  majolica  in  England.  It  must  not  be  understood  that  Mr. 
Minton  was  alone  in  the  race.  He  had  keen  competitors  in  Copeland,  Ridgway, 
the  Coalport  Works  and  others.  Every  faculty  had  to  be  exercised,  every  energy 
stimulated  to  keep  abreast,  but  the  competition  was  a generous  one. 

It  was  not  alone  as  a manufacturer  that  Herbert  Minton  has  claims  upon  our 
gratitude.  He  did  much  to  ameliorate  the  condition  of  his  work  people.  By  his 
kindly  intercourse  with  them  he  endeared  himself  to  their  hearts;  he  built 


MINTONS. 


21 


and  endowed  a church  and  schools  for  their  benefit,  and  his  genial  nature 
when  in  contact  with  them  lightened  their  daily  burden.  His  example  of  perse- 
verance was  an  incentive  to  them  all,  and  no  matter  what  success  he  achieved  his 
energies  never  relaxed;  there  could  be  but  one  watchword  for  him,  “ Forward.” 

A dessert  service  exhibited  in  London  in  1851  was  deemed  by  the  Queen  a fit- 
ting present  to  the  Emperor  of  Austria,  Mr.  Minton  himself  making  the  presenta- 
tion on  her  behalf.  At  the  court  of  this  monarch  he  met  with  a very  flattering 
reception.  At  the  American  exhibition  of  1853  he  followed  up  his  previous 
triumphs,  and  took  the  opportunity  of  making  a tour  through  the  United  States. 
At  the  Paris  exhibition  of  1855  he  had  conferred  upon  him  the  Cross  of  the  Legion 
of  Honor. 

He  died  April  1,  1858,  and  was  succeeded  by  his  nephews,  Mr.  Colin  Minton 
Campbell  and  Mr.  Michael  Daintry  Hollins. 

Having  laid  the  foundations  and  partially  constructed  the  edifice,  Herbert 
Minton  was  fortunate  to  have  two  such  worthy  successors  as  Messrs.  Campbell  and 
Hollins.  The  latter  was  an  excellent  chemist,  whilst  Mr.  Camjibell  had  the  pecu- 
liar faculty  of  being  always  a little  ahead  of  public  taste  and  as  a consequence 
appeared  to  lead  it.  The  encaustic  tile  business  was  run  as  a separate  concern 
under  the  style  of  Minton,  Hollins  & Co.,  and  when  these  gentlemen  dissolved  part- 
nership in  1867,  Mr.  Hollins  continued  that  part  of  the  business.  Mr.  Campbell 
retained  control  of  the  remainder  of  the  business,  changing  the  style  from  “ Her- 
bert Minton  & Co.”  to  “ Minton  & Co.,”  and  shortly  afterwards  admitting  into 
partnership  his  cousins,  T.  W.  and  Herbert  Minton.  After  Mr.  Campbell’s  death, 
in  1883,  the  business  was  transformed  to  a limited  liability  company,  and  is  now 
styled  “Mintons,  Limited.” 

In  1870  they  patented  the  invention  of  mosaic  painting,  by  which  the  painting 
is  indelibly  produced  upon  tesserae,  which  may  be  fitted  either  to  a curved  or  flat 
surface.  Every  touch  of  the  artist  is  preserved  and  it  is  perfectly  impervious  to 
the  effect  of  either  weather,  time  or  climate.  The  stairway  at  the  South  Kensing- 
ton Museum  contains  some  excellent  specimens  of  this  work,  finely  executed  by 
Thomas  Allen. 

At  the  various  exhibitions  fresh  honors  accrued  to  them,  and  their  display  at 
Philadelphia  came  as  a revelation  to  Americans,  who  had  long  been  satisfied  with 
cheap  and  inartistic  White  Granite.  Of  the  artists  employed  Thos.  Allen  was  the 
principal  figure  painter,  Hy.  Mitchell  for  landscape  and  animal  subjects,  R.  Pils- 
bury  and  Thomas  Simpson  for  flowers,  Charles  Toft  and  Simon  Bilks,  modellers. 
Mr.  L.  Jahn  was  also  a clever  figure  painter  and  was  afterwards  art  director  for 
Brownfields,  Mr.  Thomas  Allen  accepting  a similar  position  in  the  historic  house  of 
Wedgwoods.  The  Mr.  Joseph  Stringer,  so  frequently  quoted  by  Mr.  L.  Jewett, 
was  the  correspondent,  a kind  and  genial  gentleman,  with  whom  the  writer  was  in 
close  intercourse  for  a number  of  years.  He  had  been  the  editor  of  a newspaper  at 
Stafford,  and  had  aspirations  to  do  for  Minton  what  Jewitt  had  done  for  Wedg- 
wood, but  death  took  him  before  his  loving  task  was  completed. 

In  1870  Mintons  erected  an  art  studio  at  Kensington,  and  associated  with  it 
were  such  artists  as  H.  S.  Marks,  A.  R.  A.,  W.  H.  Coleman,  Colonel  Stuart  Wortly 
and  others. 

After  the  Franco-German  war  a large  number  of  artists  from  both  countries 


ROTJ&H  NOTES  ON  POTTERY. 


came  to  England  and  many  found  employment  with  Mintons.  Amongst  them  were 
M.  Boullemier,  a painter  of  very  dainty  figure  subjects;  M.  Mussill,  a bird  and 
flower  painter  of  great  force  and  originality  ; Mr.  Palm,  an  adept  in  the  use  of 
colored  golds,  and  last,  but  by  no  means  least,  M.  Solon,  the  pdte-sur-pdte  artist, 

whose  reputation  needs  no 
endorsement  here.  (See  illus- 
tration page  17.) 

The  vase  shown  in  our  il- 
lustration, painted  by  Mussill 
in  underglaze  colors,  is  nearly 
six  feet  high,  and  was  pur- 
chased by  Messrs.  Tiffany  & 
Co. 

Mr.  H.  Minton  Robinson  is 
chairman  of  the  company  ; Mr. 
George  Leason  has  long  been 
the  practical  potter,  an  oner- 
ous position  he  adequately 
fills.  After  the  death  of  Mr. 
Arnoux,  Mr.  Jahn  was  se- 
lected as  Art  Director.  With 
such  an  aggregation  of  talent, 
with  every  improvement  and 
facility  that  human  ingenuity 
can  devise,  it  is  not  surprising 
that,  in  face  of  the  vigorous 
efforts  of  competitors,  the 
work  of  building  the  edifice 
steadily  continues,  and  if  no 
precious  secrets  in  ceramics 
have  been  added,  all  that  is 
meritorious  in  the  old  has 
been  duplicated  ; the  standard 
of  excellence  is  maintained 
and  many  graceful  thoughts 
and  lofty  fancies  find  expres- 
sion, sometimes  in  enamels 
that  rival  those  of  the  Chi- 
nese ; sometimes  in  the  poeti- 
cal productions  of  M.  Solon, 
or  in  evidences  of  technique 
and  craftsmanship  creditable 
alike  to  the  craftsman  and  the 
firm.  (See  Plate  2,  Fig.  12.) 


Vase  by  Mussill, 


SPODE-COPELAND. 


23 


Spode=Copeland. 


THOMAS  WHIELDON  was  one  of  the  best  known  of  the  old  Staffordshire 
Potters.  Apprenticed  to  him  was  a youth  named  Josiah  Spode,  who,  in 
1770  started  in  business  for  himself  at  the  works  in  Stoke  previously  car- 
ried on  by  Turner  & Banks.  William  Copeland,  a traveler,  made  the 
acquaintance  of  Spode  and  offered  to  sell  his  goods.  The  enterprise  was  very  success- 
ful and  a warehouse  was  taken  in  London.  Trade  increased  and  Copeland  became 
a partner,  managing  the  London  business,  whilst  Spode  devoted  himself  entirely  to 
the  manufactory.  They  made  an  excellent  earthenware  body,  and  in  1800  com- 
menced making  porcelain.  This  was  under  the  second  Josiah  Spode.  Mr.  Prime 
credits  Spode  with  the  introduction  of  bone  ash  in  the  composition  of  a china  body. 
Simeon  Shaw,  in  his  “ Chemistry  of  Pottery,”  ascribes  it  to  William  Littler.  Mr.  A. 
H.  Church,  in  his  “English  Porcelain,”  unhesitatingly  ascribes  it  to  the  Bow  fac- 
tory. The  first  patent  taken  out  in  1744  gives  as  the  ingredients  : one  part  of  pot- 
ash, one  part  of  sand  or  flint,  and  from  one  to  four  parts  of  porcelain  clay  called 
unaker , from  the  Cherokee  Territory,  North  America.  In  the  second  patent  the 
unaker  is  replaced  by  other  materials.  Two  parts  Virgin  earth,  produced  by  the 
calcination  of  certain  animals,  vegetables  and  fossils,  are  directed  to  be  mixed  with 
one  part  of  flint  or  sand  and  then  fritted,  then  of  this  frit  two  parts  are  taken  and 
mixed  with  one  part  of  pipe  clay.  Analysis  of  the  fragments  discovered  on  the  site 
of  the  Bow  works,  show  44.3  per  cent,  of  the  bone  ash  or  phosphate  of  lime  in 
their  composition.  Analysis  of  Chelsea,  Worcester  and  Caughley  china  made  dur- 
ing the  second  half  of  the  eighteenth  century  prove  however  that  the  employment 
of  bone  ash  was  very  widely  extended  about  the  year  1760.  In  “ Handmaid  of  the 
Arts'1  published  in  1758,  calcined  bones  are  given  as  one  of  the  ingredients  for  mak- 
ing a true  china. 

Five  years  later  Spode  introduced  an  opaque  porcelain,  known  as  “Iron- 
stone China,”  and  its  superiority  over  the  ordinary  table  earthenware  won  it  instant 
success  and  a host  of  imitators.  Three  generations  of  Spodes,  all  named 
Josiah,  and  three  generations  of  Copelands,  have  always  constituted  the  firm  and 
none  others,  with  the  exception  of  Thomas  Garrett,  who  was  a member  from  1833 
to  1847.  The  Spodes  died  in  1797,  1827  and  1829  respectively.  The  original 
William  Copeland  died  in  1826,  and  his  son,  W.  T.  Copeland,  succeeded  him.  He 
was  familiarly  and  lovingly  spoken  of  as  “the  old  Alderman.”  He  sat  in  Parlia- 
ment for  Coleraine  from  1828  to  1832,  and  for  Stoke-upon-Trent  from  1832  to  1852, 
when  he  lost  his  seat,  but  was  re-elected  in  1857,  and  sat  until  1865.  From  1847 
to  1867  he  conducted  the  business  as  sole  partner,  and  then  admitted  his  four  sons, 
who  now  carry  on  the  business,  into  partnership.  Their  earthenware  has  always 
been  very  popular,  the  glaze  of  fine  texture  and  of  ivory  tint,  which  has  rather 
interfered  with  its  success  here,  though  why  the  harsh  coldness  of  white  wares 
should  be  preferred,  I am  at  a loss  to  imagine,  especially  in  conjunction  with  the 
now  fashionable  blue  decorations.  In  celebration  of  its  centenary  Messrs.  Copeland 
last  year  revived  Spode’s  Tower  pattern  in  zaffres  blue,  and  it  bids  fair  to  duplicate 
the  success  it  achieved  a hundred  years  ago.  This  pattern  was  originally  engraved 


24 


ROUGH  NOTES  ON  POTTERY, 


by  Daniel  Greatbatch,  who  died  at  an  advanced  age  some  forty  years  ago.  It  is  a 

very  interesting  memento  of  a 
period  of  which  we  have  none 
too  full  information. 

In  tiles  Messrs.  Copeland  pro- 
duced some  truly  magnificent 
friezes,  and  by  granulating  the 
surface,  very  broad  and  effective 
results  are  obtained. 

The  replica  of  an  old  Chelsea 
dinner  set  loaned  to  them  by  the 
Grand  Duchess  of  Mecklenburg- 
Strelitz  was  successfully  accom- 
plished, the  imitation  of  the 
paste  and  glaze  being  excellent. 
The  first  production  of  Parian,  a 
short  account  of  which  appears 
elsewhere,  is  to  be  credited  to  this 
firm.  This  was  fiercely  con- 
tested at  the  time  by  Mintons, 
who  were  also  experimenting  in  the  same  direction  and  issued  samples  almost  sim- 
ultaneously with  Copelands,  but  the  weight  of  evidence  seems  in  favor  of  the  latter 
firm. 

In  jeweled  china,  Messrs.  Copeland  have  been  very  successful,  differing  from 
Sevres,  and  superior  to  it  from  a ceramic  standpoint.  These  few  examples  will  give 
an  idea  as  to  the  diversity  of  the  firm’s  productions.  It  is  impossible  to  write  any 
account  of  Copeland’s  without  some  reference  to  the  veteran  flower  painter,  Mr.  C. 
F.  Hiirten,  whose  magnificent  and  life-like  flower-pieces  have  contributed  in  no  lit- 
tle measure  to  the  success  of  the  firm.  Nor  of  Mr.  R.  F.  Abraham,  a graduate  from 
the  Coalport  Works,  who  long  filled  the  position  of  Art  Director,  and  whose  recent 
death  the  writer,  amongst  the  humblest  of  his  friends,  has  not  ceased  to  mourn. 
Mr.  Lucien  Besche,  a versatile  figure  painter,  achieved  some  of  his  most  successful 
work  here.  Mr.  Robert  Abraham  and  Mr.  J.  Hewitt,  both  figure  painters  and  bril- 
liant colorists,  were  also  employed.  Mr.  W.  Yale  was,  and  I hope  is,  the  leading 
landscape  artist,  his  studies  in  monochrome  being  particularly  successful.  Mr. 
Samuel  Alcock  is  the  present  chief  figure  painter,  his  work  being  characterized  by 
excellent  drawing  (Plate  4,  figs.  16  and  17,  and  Plate  2,  fig.  16,)  and  very  careful 
and  miniature-like  finish. 


PARIAN. 


26 

Parian, 

PARIAN  was  first  made  by  Copeland  and  Sons,  Stoke-upon-Trent,  and  exhib- 
ited by  them  at  the  London  Exhibition  of  1851.  It  is  an  imitation  of  the 
marble  of  Paros,  from  which  it  (probably)  derives  its  name.  It  is  composed 
of  three-fifths  of  China-stone  and  two  of  feldspar.  It  is  non-plastic  and  there- 
fore cannot  be  modeled.  It  is  therefore  made  into  slip  and  poured  into  a plaster 
mould.  The  plaster  absorbs  the  water  and  leaves  the  solid  clay  adhering  to  the 
sides  of  the  mould.  It  is  used  principally  for  statuary,  generally  cast  in  several 
pieces  and  joined  together  before  firing,  by  means  of  slip.  A figure  of  Fanny  Ellsler, 
the  dancer,  and  some  other  pieces  have  elaborate  lace  trimming,  as  delicate  and  cob- 
webby in  appearance  as  the  real  article.  It  is  in  fact  real  lace  which  has  been  dipped 
in  slip  and  draped  on  the  figure,  the  fabric  itself  being  consumed  in  the  firing.  This 
process  was,  for  a long  time,  a specialty  of  Minton  and  Worcester,  but  latterly  it 
has  been  extensively  used  in  a cheap  form  by  other  factories.  The  Royal  Worcester 
Co.  also  produce  some  excellent  specimens  of  Parian  Statuary,  and  amongst  the 
cheaper  productions,  Robinson  & Leadbeater  make  the  best.  Large  quantities  of 
white  Parian  are  sent  to  France  and  Germany,  and  there  coarsely  colored,  destroy- 
ing whatever  beauty  they  originally  had. 


Davenport. 

JOHN  DAVENPORT’S  first  connection  with  the  pottery  business  was  as  part- 
ner with  Mr.  Woolf,  who  had  a manufactory  adjoining  that  of  Mintons’,  at 
Stoke.  During  a business  trip  to  France,  he  seems  to  have  made  himself 
acquainted  with  all  the  details  of  the  manufacture  of  china,  and  after  the 
dissolution  of  the  partnership,  in  1794,  he  acquired  the  works  at  Longport  of  John 
Brindley,  brother  of  the  celebrated  engineer,  James  Brindley.  Benefitting  by  the 
knowledge  he  had  acquired  in  France,  and  recognizing  that  the  china  made  in  Eng- 
land was  of  but  poor  quality — for  that  produced  by  Wedgwood  by  no  means  equalled 
his  other  productions — he  applied  himself  assiduously  to  its  manufacture,  and  soon 
produced  china  of  remarkable  transparency,  which  some  amateurs  do  not  hesitate  to 
place  in  the  first  rank,  so  far  as  its  texture  is  concerned.  For  eighty  years  it  was 
made  from  the  same  formula. 

In  1801  Mr.  Davenport  added  glass  making  to  his  business,  and  this,  like 
all  he  attempted,  was  of  the  very  finest  quality,  and  had  a deservedly  high  reputa- 
tion. Four  years  later  he  added  the  staining  and  painting  of  glass  windows  for 
churches,  etc.,  with  Fuseli,  afterwards  President  of  the  Royal  Academy,  at  the  head 
of  a large  number  of  painters.  The  Royal  Crown  was  added  to  the  trademark  in 
1806,  after  executing  an  important  commission  for  George  IV. 

Mr.  Davenport  represented  the  borough  of  Stoke-upon-Trent  in  Parliament 
for  a number  of  years.  He  died  in  1834,  his  two  sons,  Henry  and  William,  continu- 
ing the  business.  The  former  was  killed  in  the  hunting  field,  and  the  latter  died  in 
1869,  and  was  succeeded  by  his  son.  But  he  had  inherited  neither  his  grandfather’s 
business  acumen,  nor  skill  as  a potter.  The  works  gradually  decayed  and  were 
finally  brought  to  the  hammer,  (Plate  4,  figs.  7 and  8.)  The  moulds  and  patterns 
were  dispersed  and  it  is  interesting  to  note  that  Messrs.  Doulton  have  just 
revived  a Davenport  pattern  in  dark  blue  from  their  original  moulds  and  engravings. 


26 


ROUGH  NOTES  ON  POTTERY. 


Cauldon  ( Brown = West  head  Moore  & Co). 


THE  Cauldon  Place  factory  was  started  in  1794  by  Job  Ridgway,  the  father 
of  John  and  William  Ridgway,  and  carried  on  by  him  and  them  until  his 
death  in  1814.  In  1794  blue  printed  ware  was  made  in  addition  to  a spe- 
cies of  stone  ware  of  good  quality.  Soon  after  1815,  John  Ridgway  intro- 
duced a bone  china,  with  a rich  glaze,  well  adapted  for  the  use  of  the  richest  colors. 
In  1822  he  made  a voyage  to  America — the  passage  occupied  thirty-three  days — 
and  as  a result  a good  trade  with  this  country  resulted.  (Plate  3,  Figs.  1,  2 and  3). 
About  this  time  the  brothers  dissolved  partnership  and  William  opened  another  fac- 
tory, and  was  later  the  principal  partner  in  several  others.  Parian  and  sanitary 
ware  were  added  to  the  products  of  the  Cauldon  works,  and  under  John  Ridgway’s 
energetic  management,  royal  and  more  substantial  honors  were  showered  on  the 
firm.  He  continued  with  various  partners  to  conduct  the  works  until  1859  and 
died  one  year  later. 

He  was  held  in  the  highest  estimation  as  a man  of  unswerving  integrity,  and 
his  memory  is  perpetuated  in  the  Ridgway  Memorial  Church.  After  his  death  the 
business  was  bought  by  W.  Bates,  T.  C.  Brown- Westhead  and  W.  Moore,  but  Mr. 
Bates  retired  in  a very  short  time.  Mr.  Moore  died  in  1836  and  the  manufacturing 
part  developed  on  his  brother  James,  who  was  admitted  a partner  in  1875.  He  died 
in  1881  and  his  nephew,  Mr.  F.  T.  Moore,  took  charge  of  the  potting  department. 
Mr.  Brown- Westhead  died  in  1882  and  Mr.  W.  B.  Moore  and  his  brother  continued 
the  works.  Their  exhibits  at  Philadelphia  in  1876,  at  Paris  in  1889  and  at  Chicago 
were  of  the  greatest  beauty  and  stamped  them  as  formidable  competitors  with 
more  well  known  firms.  Respected  for  their  progressiveness,  their  productions 
equal  to  the  best,  they  have,  in  a few  years,  made  a demand  for  their  artistic  wares 
that  taxes  the  capabilities  of  the  factory  to  the  utmost.  There  is  every  indication  that 
“ Cauldon  ” will  be  the  ware  of  the  future.  Certainly,  if  the  future  sees  the  same 
amount  of  progress  that  has  characterized  the  past,  there  is  a brilliant  one  in  store  for 
them.  Their  manufactures  range  from  sanitaryware  to  the  finest  china,  and  visitors 
to  the  Chicago  Exhibition  will  not  readily  forget  the  exquisite  display  they  made  there. 
(Plate  3,  Fig.  4,  and  Plate  2,  Fig.  29.) 


AMERICAN  HISTORICAL  EARTHENWARE. 


27 


American  Historical  Earthenware. 


Lafayette,  Jefferson, 


DURING  the  early  part  of  this  century 
and  for  a period  of  twenty  or  thirty 
years,  large  quantities  of  earthenware 
were  imported  here  from  England,  of  a 
patriotic  and  national  character  which, 
although  now  eagerly  sought  after  by 
collectors,  seem  to  have  been  over- 
looked by  English  writers  on  ceramics. 
Mr.  Prime  briefly  notices  them.  This 
ware  was  general^  decorated  in  blue 
underglaze  with  American  views  and 
patriotic  designs  of  American  heroes. 
In  many  cases  the  engraving  is  most 
Millenium  Plate.  excellent  and  the  color  deep  and  rich. 

Washington  and  De  Witt  Clinton  figure  frequently.  The 
opening  of  the  Erie  Canal  has  six  different  views.  There  are  upwards  of  thirty 
of  Boston,  twenty  of  New  York  and  twenty-five  of  Philadelphia  and  vicinity.  A 
very  popular  design,  made  by  Clews,  had  the  names  of  the  different  States  in  a 
scroll  border.  (Plate  1,  Fig.  18.)  The  best  of  these  were  made  by  Wood,  Steven 
son,  Clews,  Stubbs  and  Ridgway,  and  it  is  instructive  to  compare  the  great  simi- 
larity of  their  production  with 
the  variety  made  by  their  suc- 
cessors. 

Enoch  Wood  commenced  bus- 
iness at  Burslem,  about  1750, 
as  a manufacturer  of  salt  glaze 
stone  ware,  and  towards  the 
close  of  the  century  he  ad- 
mitted his  son  Enoch — known 
as  “ the  father  of  the  potter- 
ies”— into  partnership  and 
the  firm  name  was  E.  Wood 
& Son.  Under  the  son’s  man- 
agement earthenware  of  a much 
improved  quality  was  made 
and  a large  business,  princi- 
pally with  this  country,  was 
built  up.  The  ware  was  marked  “ E.  Wood”  or  ‘‘Enoch  Wood,”  and  later 
“Enoch  Wood  & Sons.”  Mr.  J.  Bourne  Binder  furnishes  me  with  the  following 
data  respecting  the  succession:  “ One  of  the  sons  also  dealt  in  borax  and  amassed  a 
considerable  fortune.  He  eventually  withdrew  from  the  firm,  and  as  there  was  but 
little  capital  left,  the  Woods  eventually  went  out  of  business.  A manager  of  theirs 
then  ran  the  potteries  for  a time,  but  it  was  soon  closed  and  remaiued  so  until  my 
father  formed  the  firm  of  Pinder,  Bourne  & Hope,  and  then  re-opened  them,  our 


28 


ROUGH  NOTES  ON  POTTERY. 


family  living  at  Fountain  Place  House,  a large,  and  in  those  days  beautiful  one, 
adjoining  the  pottery  and  where  the  Woods  formerly  lived.  There  were  some  good 

pieces  of  modeling  in  the  house,  one 
notably  large  piece  in  one  of  the  halls 
representing  the  Crucifixion,  executed 
by  one  of  the  Wood  family.  I remember 
we  used  to  dig  up  lots  of  pieces  of  crock- 
ery of  good  shape  and  design  that  had 
evidently  been  made  as  experiments  and 
not  being  perfect,  had  been  buried  in  the 
garden.  The  firm  of  Pinder,  Bourne  & Co. 
(plate  3,  fig.  29)  lasted  ten  years  and  was 
dissolved  by  mutual  consentin  1861.  They 
had  two  factories,  Fountain  Place  and 
Nile  Street.  My  father  and  Mr.  Bourne 
formed  the  partnership  of  Pinder,  Bourne 
Pilgrim  Plate.  & Co.  and  went  to  Nile  Street,  confining 

themselves  to  trade  with  the  Colonies  and  South  America . Mr.  Hope  took  in  a Mr. 
Carter  and  styled  themselves  Hope  and  Carter  and  continued  at  the  Fountain  Place 
works,  catering  to  the  home  trade.  Pinder,  Bourne  & Co.  failed  in  1877,  my  father 
having  died  in  1867,  Mr.  Bourne  leaving  the  firm  at  his  death.  Doultons  were  old 
friends  of  ours,  and  my  brother,  Thomas  Shadford  Pinder,  influenced  them  to  go 
into  business  with  him  to  make  fine  goods,  which  they  did  in  1877.  The  partnership 
only  lasted  until  1881,  my  brother  retiring  and  the  firm  name  was  changed  to 
Doulton  & Co.  Mr.  Bailey  has  been  their  manager  ever  since  and  to  his  credit,  be 
it  said,  has  brought  this  branch  of  the  business  to  its  present  high  standard. 

The  Bichard  Jordan 
plate  is  often  met  with,  but 
I do  not  know  by  whom  it 
was  made.  He  was  a Quak- 
er preacher,  and  was  born 
in  Virginia  in  1756.  At 
the  beginning  of  the  pres- 
e n t century  he  lived  at 
Hartford,  Conn.,  and  in 
1809  settled  at  Newton, 
Gloucester  County,  N.  J., 
where,  in  1811  he  built  a 
house  on  a small  farm  ad- 
joining the  Meeting  House, 
in  which  he  resided  until 
his  death  in  1826.  The 
plate  was  probably  not  is- 
sued until  about  ten  years 
later. 

The  Swan  Bank  Works , 
Richard  Jordan  Plate.  Tunstall,  belonged  early  in 


AMERICAN  HISTORICAL  EARTHENWARE. 


29 


this  century  to  Ralph  Hall,  who  issued  a good  many  American  and  other 
views.  He  was  succeeded  by  Podmore  Walker  and  Co.,  who  carried  on  the  works 
until  1862,  when  it  passed  into  the  hands  of  Beech  and  Hancock  and  from  them  to 
James  Beech.  (Plate  3,  figs.  24  and  25.)  Podmore  Walker  & Co.  also  carried  on 
the  Unicorn  Pottery,  and  were  succeeded  by  Wedgwood  & Co. 

The  Dale  Hall  Works  were  founded  in  1790  by  Joseph  Stubbs,  who  died  in 
1836,  having  a few  years  previously  retired  from  business.  He  was  succeeded  by 
Mayer  Bros.,  under  whose  management  the  works  made  rapid  strides.  Various 
changes  in  the  firm  name  took  place  and  perhaps  the  greatest  variety  of  goods  ever 
produced  from  one  works  emanated  from  here.  The  latest  phase  of  the  firm  was 
Gildea  and  Walter.  (Plate  3,  fig.  11). 

The  Cobridge  Works  were  erected  in  1808,  by  Bucknall  and  Stevenson,  who 
were  succeeded  by  A.  Stevenson.  (Plate  4?  fig.  11.)  In  1816  or  1820  they  passed 

into  the  hands  of  James  Clews,  and 
he  continued  until  1829.  For  what 
reason  he  gave  up  the  works  I am  un- 
able to  say,  but  in  1837  he  came  to 
this  country  and  with  the  assistance  of 
American  capitalists,  incorporated  a 
company  under  the  title  of  The  Indi- 
ana Pottery  Company,  and  built  a fac- 
tory at  Troy,  Indiana.  But  even  with 
the  assistance  of  English  potters,  who 
were  brought  over  in  large  numbers, 
the  venture  did  not  prove  successful 
and  the  factory  was  quickly  closed  and 
Mr.  Clews  returned  to  England.  One 
son  remained  here,  the  present  eminent  financier,  Henry  Clews.  Mr.  James  Carr, 
the  veteran  New  York  potter,  worked  for  Clews  when  a boy,  and  afterwards  em- 
ployed many  of  the  potters  from  the  Troy  factory.  The  Cobridge  Works  remained 
closed  until  1836,  when  they  were  reopened  by  Robinson,  Wood  and  Brownfield. 
Robinson  died  the  same  year  and  in  1850  Wood  retired,  leaving  W.  Brownfield 
to  conduct  the  business.  He  died  in  1873,  two  years  previously  having  admitted  his 
son  W.  E.  Brownfield  as  a partner,  and  the  firm  name  became  W.  Brownfield  & 
Sons.  (Plate  2,  fig.  18.)  This  continued  until  a year  or  two  ago  when  Mr.  Brown- 
field determined  in  the  interests  of  his  workmen  to  convert  it  into  a co-operative 
works  and  it  is  now  known  as  the  Brownfield  Guild  Pottery.  (Plate  3,  fig.  10). 

The  illustration  given  herewith  is  of  a vase  made  by  Messrs.  Brownfield  & 
Sons  for  the  Paris  Exhibition  and  at  that  time  was  the  largest  china  vase  ever  made. 
It  is  eleven  feet  in  height  and  six  feet  four  inches  diameter.  At  the  summit 
is  a bisque  figure  of  Ceres  surrounded  by  attendants.  The  earth  above  which 
she  stands  is  encircled  by  a zone  resting  on  four  brackets  on  which  are  seated 
four  female  figures  also  in  bisque,  typical  of  the  four  seasons.  In  the  four  panels 
of  the  zone  are  groups  of  children  typical  of  the  occupations  of  the  seasons,  whilst 
the  pedestal  from  which  spring  the  ornamental  supports  of  the  globe,  is  encircled 
Vy  sixty  figures  modeled  in  relief. 

After  bringing  so  large  a piece  to  a successful  issue,  it  was  greatly  disappoint- 


Landing  of  Lafayette. 


30 


ROUGH  NOTES  ON  POTTERY. 


ing  that  it  should  receive  a severe  fracture  on  its  way  to  the  Exhibition;  nor  did 

disaster  end  here,  for  it 
was  entirely  destroyed 
by  a fire  at  the  manu- 
factory some  year  or 
so  later. 

Of  J.  & W.  Ridgway 
I have  already  spoken 
in  the  article  on  Caul- 
don.  It  was  from  the 
Cauldon  factory  that 
the  “ Beauties  of  Amer- 
ica ’ ’ series  was  issued 
and  all  others  marked 
“ J.  & W.  R.,”  “ I.  R.  •” 
or  u J.  R.” 

William  Ridgway 
rented  from  Joseph 
Mayer  in  1831  the 
Church  Works  at  Han- 
ley, and  he  was  also  as- 
sociated with  several 
pother  factories,  the  Bell 
Works,  now  carried  on 
by  Clementson  Bros., 
and  another  cne  close  to 
it,  now  occupied  by  G.  L. 
Ashworth  & Bros.,  and 
also  the  Charles  Street 
works.  He  admitted  his 
son,  E.  J.  Ridgway,  into 
partnership  and  the  bus- 
iness was  carried  on  by 
them  until  William 
Ridgway ’s  death  in 
1864.  E.  J.  Ridgway 
formed  a partnership 
with  L.  J.  Abington, 
which  was  dissolved 
in  1865  or  1866.  Mr. 
Sparks,  their  London 
representative,  and  E. 
J.  Ridgway’ s Sons,  John 
and  E.  A.  Ridgway,  en- 
tered the  firm  in  1872, 

E.  J.  Ridgway  retired,  the  style  being  changed  to  Ridgway,  Sparks  & 
The  trademark  which  had  hitherto  been  the  Royal  Arms,  was  now 


when  Mr, 
Ridgway. 


AMERICAN  HISTORICAL  EARTHENWARE. 


31 


changed  to  a Staffordshire  knot  with  the  letters  R.  S.  R.  in  the  loops.  Mr.  Sparks 
died  in  1878  and  the  style  was  changed  to  “ Ridgways  ; ” a new  trademark,  a bow 
and  quiver  of  arrows  being  used.  Mr.  E.  J.  Ridgway  died  in  May  of  the  present 
year,  aged  82. 

Probably  from  the  Church  St.  Works,  William  Ridgway  issued  a pattern  called 
11  Catskill  Moss,”  the  centre  having  American  views.  This  pattern  seems  to  have 
escaped  the  notice  of  collectors.  Has  any  reader  any  knowledge  of  it  ? 

Mrs.  Earle  in  u China  Collecting  in  America,”  and  Miss  Prime  in  u The  China 
Hunter’s  Club,”  have  dealt  at  length  with  this  interesting  historical  pottery,  but 
the  subject  is  by  no  means  exhausted. 

Of  a later  period,  but  possessing  much  interest,  was  a dinner  set  manufactured 
by  E.  F.  Bodley  & Co.,  (Plate  3,  fig  12),  to  the  order  of  the  Confederate  govern- 
ment, for  the  warship  “Alabama.”  It  had  a plain  blue  band  with  a device  in  the 
centre  of  two  crossed  cannons  behind  an  anchor  and  the  letters  C.  S.  N.,  surrounded 
by  a wreath  of  tobacco  and  cotton  plant  leaves.  Underneath  was  the  motto  of  the 
ship,  “ Aide  toi  et  Dieu  t'aidera .” 

Martha  Washington  China. 


Through  the  courtesy  of  Mr.  A. 
True,  of  East  28th  Street,  New  York, 
I am  able  to  give  an  illustration  from 
an  authentic  plate  now  in  his  pos- 
session, of  the  Martha  Washington 
set,  presented  to  her  by  officers  of 
the  French  Navy.  It  is  interesting 
from  an  historical  point  only,  neither 
the  body  of  the  ware  nor  the  dec- 
oration being  especially  fine. 


” Bas  relief  from  Wedgwood  Memorial  Modeled  by  Walter  J Morris  and  produced  in  Terra  Cotta 

by  Blashfleld  of  Stamford.” 


82 


HOUGH  NOTES  ON  POTTERY. 


For  the  American  flarket. 


AFTER  the  exhibition  at  Philadelphia  there  immediately  grew  up  a demand 
for  decorated  earthenware,  in  place  of  the  plain  and  often  clumsy  White 
Granite  with  which  we  had  before  contented  ourselves.  This  demand  was 
at  first  supplied  by  the  English  manufacturers  of  decorated  goods,  but  the 
shapes  were  not  conformable  to  American  ideas  and  the  decorations  did  not  appeal 
strongly  to  public  taste.  It  was  not  long  before  the  White  Granite  manufacturers 
saw  their  opportunity  and  commenced  sending  out  some  lighter  designs,  more  in 
accordance  with  the  demand  here,  and  they  have  since  held  a tight  rein  on  the 
market.  The  reputation  attained  for  White  Granite  and  semi  porcelain  by  such  h ouses 
as  J.  & G.  Meakin,  Alfred  Meakin,  T.  & R.  Boote,  John  Edwards,  Furnival  & Sons, 
Wedgwood  & Co.,  Jas.  Edwards,  Maddocks,  Alcocksand  Burgess  and  Goddard  stood 
them  in  good  stead  and  a business  colossal  in  its  proportions,  the  waxing  or  wan- 
ing of  which  means  much  to  the  Staffordshire  potteries,  has  been  built  up.  Johnson 
Bros,  and  W.  H.  Grindley  & Co.,  (Plate  2,  Fig.  26),  were  late  in  the  field,  but  by 
the  elegance  of  their  shapes  and  the  attractiveness  of  their  designs  were  soon 
abreast  of  the  others.  Such  an  extensive  market  was  bound  to  attract  others,  and 
very  many  Staffordshire  firms  to-day  who,  half-a-dozen  years  ago,  had  never  sent  a 
single  crate  of  goods  here,  have  built  up  quite  an  extensive  connection.  The  mar- 
ket also  attracted  a class  of  manufacturers  whose  products  we  could  have  dispensed 
with,  makers  of  the  cheapest  possible  grade  of  goods  with  nothing  at  all  to  recom- 
mend them  except  the  price. 

‘'Your  honors  have  seen  such  dishes.” 

— Shakespere , “ Measure  for  Measure . ” 

Competition  here  had,  of  course,  something  to  do  with  it — and  by  that  I do  not 
mean  to  refer  to  competition  between  American  and  English  manufacturers — but 
rather  the  competition  of  importers,  jobbers  and  storekeepers. 

T.  & B.  Boote.  In  the  latter  part  of  the  last  century  the  Waterloo  Works  were 
founded  by  Walter  Daniel, who  was  succeeded  by  Timothy  and  John  Locket.  In  1809 
the  business  was  purchased  by  Joseph  Machin  and  Jacob  Baggaley.  They  made 
both  china  and  earthenware.  Machin  died  in  1831  and  his  son  William  succeeded 
him.  The  next  phase  of  the  firm  was  Richard  Daniel  and  Thomas  Edwards,  from 
whom  the  business  was  purchased  in  1850  by  the  present  proprietors,  Messrs.  T.  & 
R.  Boote.  Parian  and  other  specialties  had  been  produced,  but  these  were  event- 
ually abandoned  and  white  ware  only  was  made.  Their  familiar  mark  is  known 
throughout  the  United  States,  and  their  success  is  the  best  evidence  of  the  quality 
of  their  goods.  Of  late  years  Messrs.  Boote  have  produced  a large  number  of 
decorated  patterns,  some  more  successful  than  others,  but  all  showing  the  exercise 
of  artistic  thoughtfulness  in  their  applicability  as  decorative  designs  (plate  3, 
fig.  13). 

The  Old  Hall  Earthenware  Co.  (plate  3,  fig.  19),  was  established  by  Job  Meigh, 
in  1770.  They  make  a fair  quality  of  earthenware  and  have  also  quite  a large 
trade  in  va.ses  and  ornamental  goods. 

George  Jones  & Sons,  Stoke-upon-Trent,  was  established  by  George  Jones  in 
1861.  He  had  formerly  been  with  Mintons.  Messrs.  J.  & G.  Meakin  having  more 


FOR  THE  AMERICAN  MARKET. 


S3 


orders  than  they  could  execute,  commissioned  him  to  make  White  Granite  for  them 
and  this  he  did  at  the  Old  Bridge  Works,  now  occupied  by  Messrs.  B.  & S.  Han- 
cock. Some  years  later  he  built  a large  factory  and  with  the  valuable  assistance  he 
received  from  his  sons,  quickly  pushed  himself  to  the  front  rank  as  a manufacturer 
cf  china,  majolica  and  earthenware.  Their  goods  are  deservedly  popular  and  bear 
evidence  of  great  care,  both  in  design  and  workmanship.  Mr.  Jones  died  Decem- 
ber 10,  1893,  and  the  business  is  carried  on  by  his  sons  (plate  2,  fig.  14). 

Johnson  Bros.  The  Charles  Street  Works,  Hanley,  were  founded  by  William 
Mellor,  in  1758.  He  made  Egyptian  black  ware,  as  did  his  successors,  Toft  and 
Wheeling.  The  works  next  passed  into  the  hands  of  Toft  and  May,  and  a little 
later  May  alone  conducted  the  business.  He  was  succeded  by  William  Ridgway, 
who  changed  the  manufacture  to  that  of  white  ware  for  the  American  market.  The 
venture  was  unsuccessful  and  J.W.  Pankhurst  & Co.  succeeded  him,  from  whom  the 
works  passed,  some  fifteen  years  ago,  to  their  present  proprietors,  Messrs.  Johnson 
Bros.  Thanks  to  their  enterprise  they  soon  took  front  rank  amongst  those  manu- 
facturers who  catered  especially  for  this  market,  a position  they  seem  likely  to 
maintain.  (Plate  2,  figs.  48  and  49.) 

J.  & G.  Meakin.  Mr.  James  Meakin  commenced  business  in  Longton,  in  1845, 
but  removed  to  Hanley  in  1848.  He  retired  in  1852  and  was  succeeded  by  his  two 
sons,  James  and  George.  The  business,  principally  with  this  country,  grew  to  such 
large  proportions,  that  in  1859  they  built  the  Eagle  Works,  midway  between  Han- 
ley and  Fenton,  one  of  the  largest,  if  not  the  largest,  White  Granite  works  in  the 
potteries. 

Furnivals , Ltd. , Cobridge.  Their  specialties  are  punch  bowls  and  toilet  ware, 
both  of  which  they  excel  in,  the  latter  from  the  originality  of  the  designs  and  care- 
ful engraving  and  finishing,  hold  a leading  position  in  the  market.  (Plate  3,  fig.  17). 

There  are  numerous  other  manufacturers  in  the  potteries  of  equal  importance 
to  any  of  the  above,  and  they  are  not  particularized  simply  because  I have  no  copy 
of  their  trade  mark  or  other  data  of  interest  respecting  them. 

At  Burton-on-Trent,  Wm.  Ault  and  Tooth  & Co.  manufacture  jardinieres  and 
similar  goods  with  richly  colored  glazes,  very  soft  and  harmonious. 

The  Burmantofts  Pottery  Co.,  Leeds,  are  unequalled  for  their  colored  glazes  and 
produce  a very  large  variety  of  artistic  shapes,  finely  modeled  and  carefully  made. 
It  came  as  a revelation  to  the  Staffordshire  potters  when  first  brought  out. 

The  Della  Robbia  Pottery,  at  Birkenhead,  has  recently  been  established  to 
“re-direct  art  energy  towards  industrial  forms  of  daily  need  and  use,”  and  as  such 
men  as  Holman  Hunt  are  identifying  themselves  in  its  development,  it  will  be 
interesting  to  watch  its  progress. 


34 


ROUGH  NOTES  ON  POTTERY. 


John  Maddock  & Sons,  L’td. 


IN  recognition  of  the  high  standard  of  excel- 
lence this  firm  has  always  maintained,  and 
the  just  repute  that  has  followed,  as  night 
follows  day,  they  seem  to  me  to  deserve 
more  than  a passing  notice.  More  particu- 
larly so  since  they  occupy  a somewhat  unique 
position  in  the  world  of  ceramics,  having 
raised  the  manufacture  of  table  earthen- 
ware a point  higher  than  other  Staffordshire 
houses  engaged  in  the  American  trade.  In 
manufacturing  earthenware,  the  harder  the 
body  is  made,  the  less  is  the  liability  of  the 
ware  to  craze,  always  supposing  that  there 
is  perfect  affinity  between  the  glaze  and  the 
body.  To  obtain  a body  of  this  degree  of  hardness,  Messrs.  Maddock  have  to 
employ  a greater  preponderance  of  its  more  expensive  component  parts,  which 
enables  it  to  stand  such  a degree  of  heat  that  a partial  vitrification  ensues,  and  the 
body  and  glaze  being  in  perfect  agreement,  a ware  is  produced  of  such  a homoge- 
neous nature,  that  the  risk  of  crazing  is  entirely  removed.  (Plate  2,  figs.  24  and  25). 

The  original  founder  of  the  works  at  Burslem  was  John  Maddock,  who  com- 
menced business  in  1830,  and  from  the  first  his  efforts  were  crowned  with  success. 
At  an  early  date  his  attention  was  directed  to  this  country  as  a market  for  his  goods, 
and  his  son  John  Maddock,  Jr.,  spent  a number  of  years  here,  opening  up  business 
connections,  the  results  of  which  were  reaped  by  his  brothers,  Thomas  and  Henry, 
who  succeeded  him.  Another  son,  James  Maddock,  is  the  present  head  of  the  house, 
and  is  the  only  surviving  son  living  in  England.  On  his  return  there,  after  a visit 
to  this  country,  in  1876,  he  considerably  enlarged  the  works,  which  now  give  employ- 
ment to  over  six  hundred  employees.  Notwithstanding  his  multifarious  duties  at 
the  factory,  he  has  always  taken  a keen  interest  in  municipal  matters.  He  was 
elected  to  the  highest  honor  his  towns-people  could  confer  upon  him,  that  of  Mayor 
of  the  ancient  borough  of  Burslem,  and  the  town  has  been  many  times  the  recipient 
of  his  liberality.  Progressive  and  public-spirited,  he  has  earned  alike  the  respect  of 
his  neighbors  and  the  affection  of  his  work-people,  and  when  the  depression  of  the 
pottery  industry  in  1887-8  occurred,  he  kept  his  works  in  full  operation.  This  affec- 
tion found  voice  in  an  address  presented  to  him  by  them  with  an  accompanying 
substantial  mark  of  their  gratitude.  These  evidences  of  good  feeling  between 
employer  and  employed  are  always  pleasurable  matters  to  chronicle  and  perpetuate, 
and  the  following  extract  from  the  address  needs  no  apology  : 

“We  are  proud  of  the  high  position  the  manufactures  of  the  firm  have  attained 
and  still  maintain  on  the  market,  and  we  highly  appreciate  the  honorable,  fair  and 
kindly  treatment  your  employees  have  always  received  at  your  hands,  your  uni- 
form and  thoughtful  consideration  for  them  in  times  of  sickness,  the  efforts  you  have 
put  forth — sometimes  to  your  own  disadvantage — to  provide  work  for  them  when 
trade  has  been  depressed,  and  your  endeavors  as  Chairman  of  the  Board  of  Arbitra- 
tion to  secure  and  promote  cordial  relationship  between  capital  and  labor.  As  a 
testimonial  of  the  honesty  of  these  expressions  of  respect  and  esteem,  we  request 
your  acceptance  of  the  accompanying  tray  and  two  silver  centre  stands,  and  ask 


JOHN  MADDOCK  & SONS,  L’TD. 


35 


your  permission  to  join  with  them  our  most  cordial  and  heartfelt  good  wishes  for 
the  future  well-being  and  happiness  of  yourself  and  your  family.” 

Upon  the  death  of  John  Maddock,  Jr.,  his  son,  John  Francis,  was  admitted  as 
junior  partner  by  his  uncle,  and  much  of  the  present  management  of  the  firm  devolves 
upon  him. 

The  reputation  of  their  goods  has  been  considerably  enhanced  by  the  character 
of  the  decorations  employed,  decorations  very  tasteful  and  effective,  and  often  dis- 
playing a high  order  of  art. 


JAMES  MADDOOK. 


ROUGH  NOTES  ON  POTTBRY. 


S6 


Chelsea. 


THE  origin  of  the  manufacture  of  pottery  at  Chelsea  is  doubtful,  but  was 
probably  founded  by  Dutch  workmen  about  the  middle  of  the  seventeenth  cen- 
tury. It  bad  attained  some  celebrity  as  early  as  1745.  George  I.  brought  work- 
men, models  and  materials  from  Saxony,  and  enabled  it  to  compete  with  Sevres 

and  Dresden.  In  1750,  Sprimont  was  the  director,  and  continued  to  be  so  until 
1768,  when  the  sharp  competition  of  the  Derby  factory,  which  had  acquired  consid- 
erable celebrity,  together  with  failing 

health,  caused  him  to  relinquish  it  and 
the  whole  works,  moulds,  patterns — every- 
thing was  sold  out  at  public  auction  to 
William  Duesbury,  proprietor  of  the  Derby 
factory.  A great  variety  of  china  was 
manufactured  at  Chelsea,  snuff  boxes, 

smelling  bottles,  mounted  in  gold,  statu- 
ettes and  exquisite  flowered  pieces,  handles 
for  knives  and  similar  articles,  in  addition 
to  the  more  important  dinner  and  tea  ware. 
One  peculiarity  of  Chelsea  china,  was,  that 
it  would  not  stand  a second  fire,  and  the 
body  was  not  so  compact  as  that  of  Derby. 
The  colors  are  all  remarkably  fine  and  vivid, 
the  flower  work  delicately  modeled,  and 
only  the  best  artists  were  employed.  The 
product  of  the  works,  as  was  usual  in 
those  days,  was  disposed  of  at  public  auc- 
tion. In  1763,  Horace  Walpole  wrote  of  a 
magnificent  set  which  cost  £1,200.  (about 
$6,000).  As  the  purchasing  power  of 
money  was  much  greater  then  than  now, 
it  must  have  been  of  very  fine  workman- 
ship to  command  such  a price.  The  dis- 
tinguishing mark  of  Chelsea  china  was 
usually  an  anchor,  though  some  is  marked  “Chelsea  1745,”  which  is  interesting 
as  being  the  earliest  dated  example  of  English  china.  Other  Chelsea  marks 
will  be  found  on  plate  1.  Jewett  in  his  “Ceramic  Art,  ’ gives  in  entenso  a copy 
of  a curious  document  addressed  by  the  Chelsea  works  to  the  Custom  House  offi- 
cials, and  fixes  the  date  about  1752.  It  recites  that  although  painted  Earthenware, 
other  than  that  from  India,  is  not  enterable  at  the  Custom  House,  other  than  for 
private  use,  the  importations  continue,  shops  abound  with  new  stock,  public  sales 
are  advertised  at  the  very  beginning  of  winter  and  in  large  quantities,  and  from  the 
diminution  in  the  price  of  Dresden  china,  it  is  believed  that  this  is  done  to  crush  the 
manufactory  established  here,  which  was  a proj  ect  threatened  last  y ear.  This  earthen- 


CHELSEA 


37 


ware  pays  8d  by  the  pound  when  entered  for  private  use,  but  a figure  of  very  little 
weight  may  be  worth  £5,  so  that  the  real  value  of  what  is  sold  here  will  be  found  to  be 
considerable.  It  may  be  said  that  a certain  foreign  minister’s  house  has  been,  for  a 
course  of  years,  a warehouse  for  this  commerce,  and  a large  parcel  advertised  for  public 
sale  is  come,  or  is  to  come  from  thence.  A few  examples  of  seizures  would  put  a 
stop  to  this,  as  all  Dresden  china  has  a mark  to  distinguish  it  by  ; but  if  this  com- 
merce is  permitted  to  go  on,  the  match  between  a crowned  head  and  private  people 
must  be  very  unequal,  and  the  foreign  manufacturer  will  at  any  time  by  the  sacri- 
fice of  a few  thousand  pounds  have  it  in  their  power  to  ruin  any  undertaking  of 
this  kind  here. 

It  is  not  recorded  whether  any  answer  was  made  to  the  ingenious  petition,  but 
it  will  afford  food  for  reflection  to  the  Political  Economist  that  final  disaster  came, 
not  from  foreign,  but  home  competition. 

Bow. 

THERE  does  not  appear  to  be  any  positive  information  as  to  when  the  china 
works  of  Stratford  le  Bow  were  founded,  though  we  know  that  in  1750 
they  passed  into  the  hands  of  Messrs.  Weatherby  and  Crowther,  and  Mr. 
Binns  has  in  his  possession  an  inkstand  with  the  inscription  “ Made  at  New  Canton, 
1750.”  This  was  the  name  the  works  were  known 
by,  and  T.  Craft,  an  artist  employed  there,  writing 
in  1790,  respecting  a punch  bowl  painted  by  himself 
in  1760,  says : “ The  above  (Bow)  manufactory 
was  carried  on  many  years  under  the  firm  of  Messrs. 

Crowther  & Weatherby,  whose  names  were  known 
almost  over  the  world  ; they  employed  300  persons  ; 
about  90  painters  (of  whom  I was  one)  and  about 
200  turners,  throwers,  &c. , were  employed  under 
one  roof.  The  model  of  the  building  was  taken 
from  that  at  Canton  in  China ; the  whole  was  heated 
by  two  stoves  on  the  outside  of  the  building,  and 
conveyed  through  flues  or  pipes  and  warmed  the 
whole,  sometimes  to  an  intense  heat,  unbearable 
in  winter.  It  now  wears  a miserable  aspect, 
being  a manufactory  for  turpentine.”  It  is,  or  was 
a few  years  ago,  the  match  manufactory  of  Messrs. 

Bell  and  Black.  The  Bow  works  were  in  existence 
until  1775,  when  they  were  purchased  by  Duesbury 
of  Derby. 

The  Bow  China  was  a hard  and  rather  coarse  Bristol  Figure, 

body,  often  marked  with  an  embossed  bee.  It  was  the  first  china  body  in  which 
bones  formed  a component  part.  The  article  on  Spode  gives  further  details  on  this 
interesting  point.  The  Mayflower  in  relief  was  a favorite  decoration,  and  they  also 
produced  some  charming  statuettes  in  bisque.  John  Bacon,  the  sculptor,  and 
Moser,  the  keeper  of  the  Royal  Academy,  a skilfull  modeler,  worked  for  the  Bow 
factory.  There  is  a good  deal  of  confusion  regarding  Bow  marks,  but  those  given 
on  plate  lare  generally  assumed  to  bo  Bow 


38 


ROUGH  NOTES  ON  POTTERY. 


Derby. 


SJST  the  year  1756  John  Heath  and  William  Duesbury  entered  into  partnership 
with  Andrew  Planche,  to  manufacture  china,  on  equal  shares.  Planche  had 
formerly  made  small  articles  in  china,  cats,  dogs,  sheep,  etc.,  which  he  fired  in 
a pipe-maker’s  oven.  Duesbury  was  an  enameler  from  Longton,  Staffordshire, 
and  Mr.  Heath  found  the  capital.  The  undertaking  seems  to  have  been  a success 
from  the  first.  In  1763  the  higher  sorts  of  porcelain,  such  as  figures  and  vases,  were 
made,  and  ten  years  later,  such  had  been  the  growth  of  the  business  that  premises 
were  opened  in  London,  and  a list  issued  showing  123  additions  made  to  their 
products  that  year.  About  the  year  1781  the  manufacture  of  bisque  figures  was 
commenced,  and  in  this  branch  of  the  art  they  have  never  been  excelled — possibly 
never  equaled,  and  to  the  Derby  factory  is  due  the  credit  of  their  inception. 

Planche  seems  to  have  dropped  entirely  out  of  sight,  probably  after  im- 
parting his  knowledge  and  technical  secrets,  when  he  was  no  longer  of  use. 
William  Duesbury  died  in  1786,  and  was  succeeded  by  his  son  William.  As  narrated 
elsewhere,  the  Chelsea  and  Bow  works  had  been  merged  into  the  Derby  factory 
some  eighteen  years  previously.  In  1795  Michael  Kean,  a very  clever  miniature 
painter,  was  admitted  into  partnership,  so  as  to  relieve  Duesbury  of  some  of  the 
responsibilities,  but  the  experiment  was  not  altogether  a success,  and  Duesbury 
died  shortly  afterwards.  Kean  then  married  Mrs.  Duesbury,  but  soon  afterwards 
withdrew  and  the  works  were  continued  by  the  third  William  Duesbury.  In  1815 
he  leased  the  premises  to  Robert  Bloor.  The  Duesburys  had  always  made  it  a point 
not  to  sell  any  but  perfect  pieces,  so  there  was  naturally  a great  accumulation  of 
ware  more  or  less  defective.  Bloor  having  to  pay  the  purchase-money  by  install- 
ments, found  the  easiest  method  of  doing  so  was  to  finish  up  these  goods,  take  them 
to  different  towns,  where  they  found  ready  sale,  and  also  to  have  sales  at  the  fac- 
tory. One  of  these  sales  lasted  twenty-five  days.  He  amassed  large  sums  of  money 
by  this  means,  but  it  produced  a lasting  evil.  The  temptation  to  produce  large 
quantities  of  goods  for  auction  was  too  great  to  be  resisted,  so  less  care  was  taken 
in  the  selection  and  manufacture  of  the  goods,  and  the  decline  of  the  works  com- 
menced. (See  Plate  1). 

Bloor  was  succeeded  in  1846  by  Thomas  Clark,  who  discontinued  the  works 
and  sold  most  of  the  moulds,  etc.,  to  Staffordshire  manufacturers.  Some  of  the  old 
employees  commenced  business  on  their  own  account,  throwing  into  the  common 
stock  what  tools,  money  or  experience  they  had.  The  title  of  the  firm  was  £:  Locker 
& Co.,”  and  in  1859,  on  Locker’s  death,  changed  to  Stevenson  & Co.,  subsequently 
becoming  Hancock  & Co. 

In  1877,  Edward  Phillips  gave  up  his  appointment  as  one  of  the  managing 
directors  of  the  Worcester  Porcelain  Co.,  and,  in  conjunction  with  Mr.  William 
Litherland,a  well-known  china  dealer  of  Liverpool,  and  Mr.  John  Mclnnes,  formed 
a limited  liability  company  with  a capital  of  £6S, 000  for  the  manufacture  of  china 
at  Derby,  under  the  style  of  11  The  Crown  Derby  Porcelain  Co.”  The  first  works 
were  on  the  Osmaston  road,  but  the  old  poor-house  coming  into  the  market  it  was 


DERBY. 


39 


purchased  for  £10,000  and  converted  iuto  a manufactory.  It  was  not,  however, 
until  1880  that  it  was  in  full  working  order,  and  a revival  of  the  old  Derby  shapes 
and  patterns  was  successfully  attempted.  Mr.  Phillips  died  in  1881,  and  Mr.  Lith- 
erland  a year  later,  and  the  management  devolved  on  Henry  Litherland  and 
Edward  Mclnnes.  In  1891,  aided  by  the  late  Duke  of  Devonshire,  they  obtained 
the  privilege  of  adding  “ Royal  ” to  the  style  of  the  firm.  R.  G.  Morris,  Ingram  and 
Hogg,  are  the  modelers  ; Jas.  Rouse,  who  worked  for  Duesbury,  continues  his 
excellent  flower  pieces  ; Holtzendorffis  a painter  of  dreamy  landscapes,  whilst  the 
figure-painters  are  Platts  and  Deakin.  (Plate  3,  fig.  6). 

Caughley=Coalport. 


THE  first  Caughley  factory  was  probably 
started  by  Gallimore,  about  the  time  of  the 
inception  of  the  Worcester  works,  though  lit- 
tle is  known  about  him.  He  was  succeeded  in 
1772  by  Thomas  Turner,  who  appears  to  have 
supplied  the  plain  china  for  decorating  to  both 
Robert  Chamberlain  and  Grainger  of  Worces- 
ter. Jewett  thinks  that  the  printing  for  the 
Worcester  Company  was  done  here,  on  account 
of  its  isolated  position,  and  it  being  possible  to 
observe  greater  secrecy  than  at  Worcester,  the 
river  Severn  forming  furthermore  a convenient 
highway  for  its  transportation. 

Apprenticed  to  Turner  was  a youth  named  John 
Rose,  the  son  of  a neighboring  farmer,  who  afterwards 
started  in  business  on  his  own  account  at  Jackfield,  a 
little  further  up  the  river,  but  soon  removed  to  Coal- 
port,  on  the  bank  of  the  Severn  opposite  to  Caughley. 

This  had  previously  been  a small  pottery  belonging  to 
a Mr.  Young.  The  venture  was  a success,  so  much  so 
that  in  1798  the  opposition  proved  too  strong  for  the 
Caughley  works,  and  they  were  disposed  of  to  Mr.  Rose 
and  his  partner.  Mr.  Rose  also  acquired  the  Swansea 
Works  (1820)  and  afterwards  the  Nantgarw,  which  had 
been  founded  by  Derby  workmen,  “ and  which  produced, 
perhaps,  the  finest  examples  of  porcelain  with  a granu- 
lated fracture  ever  made.”  The  moulds,  patterns,  etc., 
of  these  two  works  were,  with  the  workmen,  gradually 
removed  to  Coalport.  Both  in  body  and  decoration 
excellent  results  were  attained,  its  merits  were  speedily 
recognized  and  the  standard  of  excellence  has  been 
maintained  until  the  present  day. 


40 


HOUGH  NOTES  ON  POTTERY. 


In  1820  the  gold  medal  offered  for  the  best  porcelain  glaze  without  lead,  was 
awarded  to  Mr.  Rose,  having  for  competitors  Copelands,  Davenports  and  other  well 
known  Staffordshire  houses. 

John  Rose  died  in  1841  and  was  succeeded  by  his  nephew,  who  was  in  turn 


Vase,  by  Randall. 


succeeded  by  Mr.  Pugh.  Following  his  death  a good  deal 
of  litigation  ensued,  and  the  business  was  conducted  in  a 
haphazard  fashion.  There  was  no  actual  supervision  ; 
the  workmen  simply  made  those  articles  for  which 
they  were  best  paid,  and  a vast  accumulation  of  use- 
less stock  was  the  result.  A gentleman  named  Bruff  then 
bought  the  works.  They  were  rescued  from  the  annihil- 
ation that  threatened  them  and  to-day,  under  the  di- 
rectorship of  Mr.  J.  J.  Bott  their  productions  increase  in 
beauty  and  are  more  sought  for  than  ever.  Some  of  the 
old  artists  who  helped  to  make  Coalport  what  it  is  were 
Hartshorn,  landscape  painter;  Cook,  flower  painter, 
and  Randall,  birds,  etc.  To  this  factory  we  owe  the 
production  of  the  world-famed  Willow  pattern,  or,  as  it 
was  called,  “Broseley,”  the  Blue  Dragon  or  Canton 
pattern,  and  the  almost  as  well-know  Worm  Sprig, 
Tournay  Sprig  and  Berlin  Chain,  copies  of  Dresden  pat- 
terns. Early  specimens  are  marked  as  shown  (plate  4, 
fig.  10),  though  marked  pieces  are  the  exception,  whilst 
the  present  mark  is  a crown  with  “ Coalport,  A.  D., 
1750.”  (Plate  2,  fig.  32.) 

During  the  many  changes  in  the  proprietary,  the 
style  of  the  firm  name  has  never  changed.  It  has 
always  been  and  is  now  “ John  Rose  & Co.” 


WORCESTER. 


41 


42 


ROUGH  NOTES  ON  POTTERY. 


Worcester, 


DR.  WALL,  a chemist  of  much  practical  ability  and  research,  founded  the 
Worcester  Porcelain  Co.  in  1751,  as  a result  of  experiments  he  had  long 
been  engaged  on.  The  original  partnership  deed  relating  to  the  formation 
of  the  Company  is  still  in  existence.  The  first  productions  were  copies  or 
adaptations  of  blue  and  white  Nankin  patterns,  to  which  were  soon  added  the  more 
brilliant  Japanese  colorings.  The  much  sought  for  square  marks  are  copies  of  Jap- 
anese originals,  the  Worcester  artists  freely  adopting  them,  as  a little  later  they  did 
the  Dresden  mark,  when  that  style  of  decoration,  in  conjunction  with  that  of  Sevres, 
was  adopted.  Early  specimens  have  a somewhat  cold  and  coarse  look.  In  1756, 
the  invention  of  printing  on  biscuit  china  was  introduced  at  Worcester.  The  credit 
of  this  discovery  probably  belongs  to  the  Sadlers  of  Liverpool,  who  certainly  printed 
tiles  there  in  that  year.  It  is  also  claimed  for  R.  Handcock  or  Hancock  of  the  Bat- 
tersea Enamel  Works,  who  came  to  Worcester  in  that  year,  and  also  for  J.  Holdship, 
one  of  the  original  partners  of  the  Worcester  factory,  although  the  claims  of  the  latter 
we  find  immediately  challenged.  A jug  with  a printed  portrait  of  the  King  of  Prussia 
inspired  a long  poem  in  the  Gentleman' s Magazine  for  December,  1757,  and  it  was 
dedicated  to  Holdship.  This  poem,  slightly  altered,  was  reprinted  in  the  Worcester 
Journal , for  January,  1758,  with  the  addition  of  the  following  significant  couplet: 

“ Handcock,  my  friend,  don’t  grieve,  though  Holdship  has  the  praise. 

’Tis  yours  to  execute — ’tis  his  to  wear  the  bays.” 

Richard  Holdship  in  1751  became  the  lessee  of  the  works,  but  becoming  bank- 
rupt in  1761,  sold  his  shares  for  jive  shillings  ! and  carried  the  secret  of  printing  to 
the  Derby  Works.  In  1769  Hancock  purchased  from  the  mortgagees  of  Richard 
Holdship  the  buildings  he  had  erected,  and  became  a partner  in  the  works  ; but 
this  partnership  only  lasted  until  1774. 

About  this  time  many  of  the  Chelsea  workmen  immigrated  to  Worcester,  and 
their  influence  was  quickly  felt  in  the  style  of  the  goods  produced. 

The  worthy  Dr.  Wall  died  in  1776,  and  how  much  had  been  due  to  his  skill  as 
a potter,  his  acumen  as  a business  man,  was  evidenced  by  the  rapid  deterioation  of 
the  quality  of  the  products  in  the  years  succeeding  his  death.  In  1783,  John  and 
Joseph  Flight  purchased  the  business  and  the  prestige  of  the  firm  was  quickly 
restored.  They  introduced  simple  decorations.  In  1788,  George  III.  visited  the 
factory  and  suggested  the  use  of  the  word  11  Royal  ” in  the  firm  name,  which  was  at 
once  carried  into  effect  and  a crown  added  to  the  trademark.  In  1793  Mr.  Barr 
joined  the  firm  and  the  various  changes  in  style  dated  below  followed. 

Flight  & Barr,  1793  to  1807. 

Barr,  Flight  & Barr,  1807  to  1813. 

Flight,  Barr  & Barr,  1813  to  1840. 

In  1786,  Robert  Chamberlain,  the  first  apprentice  the  Worcester  Company  ever 
had,  commenced  business  on  his  own  account,  at  first  buying  china  from  Caughley 
to  decorate,  but  soon  manufacturing  it  for  himself.  He  built  up  a large  business 
and  the  two  firms  amalgamated  in  1840,  the  business  being  carried  on  at  the  works 


WORCESTER. 


43 


and  under  the  style  of  Chamberlain  & Co.  (Plate  1,  fig.  1.)  In  1850  Mr.  Kerr 
joined  the  firm  and  the  year  following  Mr.  Chamberlain  retired,  his  place  beino- 
taken  by  Mr.  R.  W.  Binns  and  the  firm  name  became  Kerr  & Binns.  Much  progress 
was  made  in  the  next  ten  years,  the  works  were  considerably  enlarged  and  at  the 
end  of  that  period  Mr.  Kerr  retired  and  the  business  was  continued  by  a company 
of  shareholders,  with  Mr.  R.  W.  Binns  as  art  decorator,  a position  he  has  honora- 
bly filled  and  fills  at  the  present  day. 

The  enamels  of  Mr.  Bott,  a 
very  clever  artist,  brought  up 
by  Mr.  Binns  specially  for  the 
work,  were  veritable  triumphs 
of  pottery. 

It  is,  perhaps,  by  their  ivory 
body,  first  made  in  1854,  in 
which  they  produce  au  infinite 
variety  of  shapes  and  designs, 
that  they  are  best  known. 
Jeweled  porcelain,  a more 
ceramic  production  than  that 
of  Sevres,  parian  statuettes, 
Worcester  Japanese  ware,  and 
finely  painted  vases  are  some 
of  the  specialties  of  the  firm. 
Both  in  form  and  design  a very 
high  ideal  has  always  been 
aimed  at,  and  this  is  especially 
noteworthy  in  tea  and  table 
services,  produced  mainly  by 
Tazza  by  Bott.  mechanical  processes.  (Plate 

3,  fig.  5). 


G,  Grainger  & Co. 


ANOTHER  Worcester  firm  of  prominence  was  that  of  G.  Grainger  & Co.,  estab- 
lished in  1800  by  Mr.  Thomas  Grainger,  a nephew  of  Mr.  Chamberlain. 
Their  principal  productions  are  a highly  vitrified  semi-porcelain  table  ware, 
first  produced  in  1851,  and  a great  variety  of  perforated  glazed  parian  vases,  very 
chaste  in  design  and  executed  with  great  care.  Since  1889  this  factory  has  been 
taken  over  by  the  Royal  Worcester  Co.,  and  is  now  operated  by  them.  (Plate  2, 
fig.  31). 


44 


ROUGH  NOTES  ON  POTTERY. 


Lowestoft. 


PERHAPS  no  china  has  given  rise  to  more  controversies  than  that  of  Lowestoft. 
A pottery  was  established  there  in  1756  by  Luson,  but  owing  to  the  jeal- 
ousy of  some  London  manufacturers,  who  tampered  with  the  workmen 
and  induced  them  to  spoil  ware,  it  was  not  a success.  However,  in  the  year  fol- 
lowing, Walker,  Brown  & Co.,  seem  to  have  placed  it 
on  a fair  footing  and  both  earthenware  and  china 
were  made.  Many  of  the  decorations  were  by 
Thomas  Rose,  who  painted  roses  and  small  bou- 
quets, both  in  groups  and  festoons.  The  works 
were  abandoned  in  1802.  The  claim  was  for  a long 
time  advanced  that  hard  porcelain  was  made  at 
Lowestoft,  but  it  now  seems  reasonably  certain 
that  either  Chinese  ware  was  imported  and  decorated 
at  Lowestoft,  or  that  Lowestoft  decorations  were 
sent  to  China  and  copied  there  for  the  English  market. 
The  decorations  are  very  simple  in  character,  frequent- 
ly with  heraldic  devices,  but  there  was  no  distinguish- 
ing mark  of  any  kind  employed. 

I have  taken  Jewitt  as  an  authority,  but  the 
pros  and  cons  are  most  entertainingly  set  forth  in  the 
last  chapter  of  that  most  interesting  of  all  books  on  pottery  “The  China  Hun- 
ter’s  Club.” 


Doulton. 


I N 1818,  John  Doulton  established  a stoneware  works  at  Vauxhall.  He  was 
I joined  by  John  Watts  and  traded  under  the  style  of  “Doulton  & Watts.’’ 
*■  Some  few  years  after,  the  works  were  removed  to  Lambeth.  From  the  first,  a 
high  order  of  merit  was  arrived  at  and  achieved.  There  were  no  affected  imita- 
tions of  an  antique  type  ; character  and  originality  were  distinguishing  features  ; 
all  that  was  artistic  found  encouragement,  and  it  was  not  long  before  a rough  and 
crude  manufacture  \|^s  developed  into  one  of  artistic  elegance.  “ What  particu- 
larly arrests  the  eye  is  that  each  object  has  a style,  which  now  takes  us  back  to  the 
flowery  periods  of  Doric  and  Etruscan  forms,  now  to  the  days  of  medieval  hospi- 
tality. These  works  are  not  the  results  of  the  common  course  of  earthenware  pro- 
ductions, it  has  cost  much  thought  and  the  exercise  of  much  knowledge  and  ingen- 
uity to  appoint  a confederacy  of  labor,  so  particularly  qualified  as  shall  work  suc- 
cessfully to  this  special  end.” 

The  Doulton  Lambeth  ware  is  an  earthenware  body,  highly  vitrified,  similar  to 
the  Gres  from  Germany.  The  ornament  is  principally  sgraffiraento  or  incised  out- 


DOULTON. 


45 


line,  made  with  a blunt  tool  on  the  wet  clay,  and  afterwards  colored  with  a brush 
and  fired.  The  Lambeth  works  also  have  produced  some  of  the  rarest  examples  in 
Terra  Cotta  moulding  ever  seen,  the  work  of  George  Tinworth  being  the  most 
noticeable.  Bricks,  sewer  pipes,  &c.,  are  also  made  by  the  Doulton  firm. 


Early  Lambeth  Doulton. 


Henry  Doulton  entered  the  firm  at  an  early  age,  and  under  his  skilful  manage- 
ment fresh  laurels  were  gained,  the  standardof  the  productions  was  higher  and  success 
seemed  only  an  incentive  to  greater  efforts.  In  1877  the  firm  bought  the  works  of 
Pinder,  Bourne  & Co.,  at  Burslem,  at  which  one  hundred  and  sixty  people  were 
employed.  At  the  end  of  last  year  over  one  thousand  were  employed.  Totally 
different  to  the  goods  they  had  been  in  the  habit  of  making,  they  entered  on 
this  new  venture  with  all  their  characteristic  artistic  enterprise.  Formidable 
rivals  were  in  control  of  the  trade,  but  nothing  daunted,  they  set  to  work, 
and  in  an  incredibly  short  space  of  time  there  was  on  the  market  such  a 
rich  profusion  of  goods,  both  in  china  and  earthenware,  invested  with  so  much 
artistic  excellence  and  of  so  marked  a character  as  to  place  the  firm  at  once  in  the 
front  ranks  of  Staffordshire  manufacturers.  Every  piece  of  ware  produced,  from 
the  cheapest  dinner  plate  to  the  most  expensive  vase,  bears  this  impress,  a some- 
thing indefinable  yet  plainly  existent  and  for  which  I can  find  no  better  word  than 
‘ 1 Doultonesque.’  ’ 

Sir  Henry  Doulton — he  was  knighted  in  1887 — in  a speech  to  his  work  people, 
said:  u I remember  when  the  power  we  employed  in  Lambeth,  fifty  or  sixty 

years  ago,  was  one  blind  horse.  It  is  now  3,500  horse  power  and  we  have  twenty- 
five  steam  boilers  capable  of  generating  steam  equal  to  7,000  horse  power.  In 
place  of  the  music  we  have  enjoyed  to-night,  I remember  when  the  potters’  recrea- 
tion were  drink  and  degrading  fights  between  women;  and  when  old  Lambeth 
alleys,  such  as  “ Black-boy”-alley  and  “ Naked-boy”-alley  were  sinks  of  infamy 
and  disease.  By  the  extension  of  our  buildings  many  of  these  old  plague  spots 
have  been  removed.  I began  my  work  when  15  years  old,  at  which  age  I went  into 
the  manufacturing  department  of  my  father’s  small  business.  There  was  no  steam 
engine  then  ; I had  to  push  my  wheel  with  my  own  foot.  Often  there  was  a kiln 
blazing  just  in  front  of  where  I worked.  After  two  years  I was  able  to  make  my 
first  twenty  gallon  vessel  on  the  wheel.  I wanted  to  be  able  to  criticise 
with  intelligence.  That  was  one  of  my  motives  when  I deliberately  chose  to 
acquire  a technical  knowledge  of  pottery.  I felt  that  if  I were  to  be  a judge  of 
work,  I at  least  should  have  a practical  acquaintance  with  it.  For  a long  time  I 
confess  I was  prejudiced  against  the  employment  of  women.  I had  witnessed  the 


46 


NOTES  ON  POTTERY. 


degrading  effects  of  work  on  the  women  working  in  the  potteries  of  Staffordshire, 
wheie  women  generally  performed  such  heavy  labor  as  turning  the  wheel,  and 
wedging  the  clay.  I had  observed,  too,  especially  on  the  Continent,  that  wherever 
women  did  what  usually  is  men’s  work  the  men  grew  to  be  a lazy  lot.  Still,  the 
matter  was  thoroughly  thought  out,  and  I at  last  saw  my  way  to  adopt  a well 
organized  scheme  for  the  employment  of  young  ladies.  The  success  of  the  experi- 
ment was  soon  recognized,  and  nothing  gave  me  greater  pleasure  than  to  see  women 
working  in  those  arts  which  tend  to  beautify  and  adorn  life.  In  the  year  1870  the 
first  steps  were  taken  at  Lambeth  to  produce  art  pottery.  I could  say  a good  deal 
on  this  point,  but  let  me  now  just  observe  that  the  only  drawback  to  this  depart- 
ment of  our  productions  is  that  it  cannot  at  present  be  extended.”  (Plate  3,  fig.  14). 


Belleek. 


BELLEEK  is  a fine  glazed  Parian  body,  washed  with  metallic  lustres.  It  is 
made  by  what  the  French  call  the  11  coulage'1'1  process  and  which  we  desig- 
nate as  casting.  A plaster  mould  is  filled  with  clay  diluted  by  water  to  the 
consistency  of  cream  and  known  as  “slip.”  The  plaster  absorbing  the  water 
leaves  a layer  of  clay  adhering  to  the  moulds,  and  when  this  attains  the  required 
thickness  the  remainder  of  the  slip  is  emptied  from  the  mould,  and  after  drying  for 
a short  time  the  cast  can  easily  be  removed.  Parian  being  a non-plastic  body,  can- 
not be  either  thrown  or  made  in  a dry  mould.  This  ware  first  attained  any  degree 
of  popularity  at  the  manufactory  of  Messrs.  McBirney  & Armstrong,  of  Belleek, 
County  Fermanagh,  Ireland,  and  took  its  name  from  that  village.  It  had  pre- 
viously been  successfully  produced  by  Mr.  W.  H.  Goss,  of  Stoke-upon-Trent.  (Plate 
2,  fig.  10.)  It  was  in  1863  that  the  first  attempts  to  produce  it  were  made  at  Bel- 
leek, but  they  were  unsuccessful  until  McBirney  & Armstrong  engaged  Mr.  Goss’s 
foreman,  William  Bromley ; a clever  modeler  named  Gallimore  and  some  ten  other 
workmen  from  the  same  factory.  Gallimore  subsequently  returned  to  Mr.  Goss,  as 
did  most  of  the  others,  after  teaching  the  process  to  their  Irish  friends,  whilst  Mr. 
Bromley  in  1883  came  to  Trenton  to  assist  Mr.  J.  Hart  Brewer  in  his  development 
of  Belleek.  I have  several  times  within  recent  dates  seen  it  stated  that  Mr.  W.  H. 
Goss  of  Stoke-upon-Trent  was  the  originator  and  inventor  of  the  Belleek  ware,  and 
generally  with  the  assumption  that  the  iridescent  coloring  was  in  the  glaze.  Both 
these  statements  are  incorrect.  The  real  inventor  of  these  pearly  lustres  was  a 
Frenchman  named  Henri  Brianchou,  who  protected  by  patent  his  discovery  in 
France,  England  and  Germany,  and,  I think,  in  one  or  two  other  countries.  These 
lustres  were  used  both  in  France  and  Germany  long  before  their  adoption  by  Mr. 
Goss,  who,  in  common  with  Belleek  and  other  factories,  imported  them  from  France 
during  the  continuance  of  the  patent.  These  lustres  are  solutions  of  metal  washed 
over  the  glaze  and  subsequently  fired,  and  are  no  more  a part  of  the  glaze  than  is  a 
line  of  gold  or  other  enamel-kiln  decoration.  Mr.  Goss  started  in  business  at  Stoke 
in  1858  ; and  in  the  London  exhibition  of  1862  does  not  appear  to  have  exhibited 
any  “ Belleek  ” although  he  had  a very  choice  exhibit  of  Parian  figures,  vases,  &c.; 
so  that  at  the  earliest,  it  seems  reasonable  to  suppose  he  did  not  use  these  lustres 


BELLEEK. 


47 


before  1863,  the  year  of  the  inception  of  the  Irish  manufactory.  When  Mr.  Brom- 
ley went  to  Belleek  he  took  with  him  the  knowledge  of  a Parian  body,  whose  com- 
position Mr.  Goss  had  adopted  from  an  older  body.  Mr.  Goss  has  a small  manufac- 
tory at  Stoke,  where  he  produces  some  excellent  specimens  of  Parian,  and  finds 
time  to  indulge  his  literary  talents.  I have  used  the  word  “ small  ” advisably,  as  I 
have  seen  it  described  as  “immense,”  which  it  is  not  and  which  Mr.  Goss,  in  his 
own  words  takes  “ care  that  it  shall  not  be  ; for  such  a delicate  maufacture  would  not 
admit  of  extension  like  an  ordinary  pottery.  It  would  be  dangerous  to  carry  it 
beyond  personal  supervision.”  Beside  improving  the  Belleek  body,  making  it  look 
richer  and  capable  of  standing  boiling  water,  Mr.  Goss  has  introduced  a great 
improvement  in  the  manner  of  fixing  enamel  jewels  on  china.  He  is  a relative  and 
also  the  biographer  of  Mr.  Llewellyn  Jewett.  Many  very  elegant  shapes  and 
designs  specially  suited  to  the  decorations  emenated  from  the  Belleek  factory  and 
had  for  a long  time  a certain  popularity,  but  of  late  it  has  been  made  extensively 
at  Trenton,  equaling,  if  not  excelling,  the  Belleek  productions.  (Plate  3,  fig.  30  & 31.) 


Rook  wood. 


48 


ROUGH  NOTES  ON  POTTERY. 


Pate=sur=Pate, 


SPECIALLY  CONTRIBUTED  BY 

M.  SOLON, 

AUTHOR  OF  “THE  ART  OF  THE  OLD  ENGLISH  POTTER.’’ 


AMONGST  the  various  styles  of  decoration  which  the  artist  may  borrow  from 
the  potter,  the  process  of  Pate-sur»Pate  stands  alone  with  regard  to  the 
peculiar  effects  that  may  be  obtained  from  it.  Wedgwood’s  jasper  reliefs 
are  the  nearest  approach,  but  the  figures  and  the  ornamentation  with  which 
jasper  ware  is  adorned,  are  all  pressed  in  moulds,  and  simply  stuck  on  the  surface. 
The  result  is,  a work,  which  however  skilful  in  treatment,  does  not  go  beyond  the 
refined  productions  of  a superior  handicraft. 

It  is  not  so  with  the  Pat  e-sur-Pate  process.  A plain  piece,  made  of  a porcelain  body, 
colored  with  metallic  oxides,  and  still  in  the  clay  state  (that  is  to  say,  before  it  has 
been  submitted  to  any  firing)  is  taken  in  hand  by  the  artist.  Freely  he  sketches 
upon  it  a subject  of  his  own  imagination.  The  white  porcelain  clay,  diluted  with 
water  to  the  consistency  of  batter,  or,  as  it  is  called,  the  u slip,”  serves  to  produce 
the  reliefs.  By  means  of  a painting  brush  the  slip  is  laid  upon  the  piece  by  succes- 
sive coats,  care  being  taken  to  wait  until  the  coat  is  perfectly  dry  before  applying 
another.  Failing  that  precaution  the  raised  work  might  crack  and  peel  off.  Thus, 
by  degrees,  the  reliefs  attain  their  respective  thicknesses.  They  are  then  worked 
into  with  sharp  iron  tools,  which  scrape  and  smooth  the  inequalities  of  the  rough 
sketch,  incise  the  details  and  delineate  the  outlines,  whilst  the  brush  loaded  with 
thicker  slip,  brightens  the  whole  work  with  sharply  raised  touches.  When  the  piece 
is  considered  as  completed  and  ready  for  the  oven,  it  is,  from  beginning  to  end,  the 
original  production  of  the  artist’s  hand. 

But  it  is  only  through  the  action  of  the  fire,  which  causes  the  incipient  state  of 
vitrification  of  the  mass,  that  the  translucency  of  certain  parts  will  become  appar- 
ent. When  at  work  the  artist  has  no  means  of  ascertaining  the  degree  of  transpar- 
ency that  the  firing  will  develop;  he  can  only  depend  on  his  experience  and  judg- 
ment. All  ends  often  in  disappointment,  for  after  the  piece  has  passed  through  the 
oven,  to  retrieve  any  mistake,  or  to  amend  any  accident  has  become  an  impossi- 
bility. One  may  rest  satisfied  if  the  fiuit  of  a long  labor  does  not  come  from  the 
firing  split  into  fragments,  disfigured  by  unseemly  blisters,  in  short,  an  altogether 
worthless  wreck. 

Decoration  in  colored  clays  are  applied  in  the  same  manner.  The  various  colors 
are  obtained  by  mixing  with  the  porcelain  body,  given  quantities  of  oxide  of  cobalt, 
chromium,  iron,  uranium,  titanium,  and  other  metalloids.  These  mixtures  have  to 
be  artfully  compounded  in  such  a way  that  the  contraction  they  undergo  in  the 
firing  shall  be  equal  in  all  cases. 


Panel  in  Pate-sur-Pate,  by  L.  Solon. 


50 


ROUGH  NOTES  ON  POTTERY. 


The  Staffordshire  Potteries. 


AS  some  misapprehension  seems  to  exist  about  the  district  known  as  “The 
Potteries,”  perhaps  a few  words  on  the  subject  will  be  acceptable.  Situated 
in  the  northern  part  of  the  county  of  Staffordshire,  about  150  miles  north- 
west of  London,  is  the  district  known  as  “The  Potteries”  which  embraces 
Stoke-upon-Trent,  Fenton,  Longton,  Hanley,  Shelton,  Cobridge,  Etruria,  Burslem, 
Longport,  Dalehall  and  Tunstall.  These  towns  cover  a space  about  nine  miles  long 
and  three  wide,  and  have  a combined  population  of  about  200,000.  Burslem — the 
mother  of  the  Potteries — was  originally  “ Burwardeslime,”  meaning  the  bower  near 
the  wood.  Even  in  Wedgwood’s  time  the  only  houses  at  Stoke  were  those  of 
Ward  (the  Staffordshire  historian)  and  Poulson,  afterwards  associated  with  Minton. 
Newcastle  was  the  nearest  market  place  to  Burslem,  but  the  roads  were  so  bad  as 
to  be  almost  impassable,  in  addition  to  being  infested  with  highwaymen.  A part  of 
this  road  or  lane  is  still  in  existence,  much  as  it  was  a hundred  years  ago.  Long- 
port  was  formerly  Longbridge,  owing  to  the  floods  of  water  which  gathered  in  the 
valley.  The  long  bridge  consisted  of  about  a hundred  yards  of  plank,  made  by  the 
assistance  of  stones,  to  span  the  water-course,  which  at  times  was  deep  and  rapid. 

Stoke-upon-Trent  has  the  best  railroad  facilities  and  perhaps  for  this  reason  is 
regarded  as  the  metropolis  of  the  potteries,  a distinction  also  claimed  by  Hanley, 
on  account  of  its  progressiveness. 

Tunstall,  from  the  Anglo-Saxon  tun,  a town  and  stall , an  elevated  seat,  was  held 
in  the  time  of  Henry  III,  as  fief  under  the  manor  of  Newcastle,  by  Henry  de 
Audley.  The  ironstone  with  which  Tunstall  abounds  was  worked  as  early  as  1316. 
It  was  not  however  until  1816  that  the  town  became  of  any  importance. 

The  Old  Hall  Manufactory  at  Hanley,  locally  “ T’wod  Awe  Bonk  ” (for  in  the 
Potteries  every  factory  is  a ‘ bank  ’),  carries  us  back  to  the  Norman  Conquest  when 
William  de  Hanley  was  lord  of  the  manor  and  had  his  residence  there.  Etruria  was 
created  by  Wedgwood ; Shelton  is  mostly  the  over  growth  of  Stoke  and  Hanley, 
whilst  Longton,  meaning  long  town,  was  formerly  Lane  End,  a name  requiring  no 
explanation.  Newcastle,  about  two  miles  from  Stoke,  disdains  connection  with  the 
Potteries,  content  with  the  prestige  of  being  one  of  the  oldest  boroughs  in  England. 
Here  was  born  Major-General  Harrison,  one  of  the  chiefs  of  the  army  of  the  Com- 
monwealth ; Fenton  the  poet,  and  John  Goodwin,  a celebrated  divine  who  by  his 
pen  probably  did  as  much  for  Cromwell’s  cause  as  Harrison  did  with  his  sword. 

Notwithstanding  the  smoke  and  grime  from  the  ovens  and  furnaces,  there  is  a 
marked  absence  of  epidemics,  the  potters’  worst  foes  being  asthma  and  lead  poison- 
ing, but  thanks  to  strict  government  supervision,  the  better  ventilation  and  greater 
cleanliness  of  the  workshops,  these  diseases  are  markedly  on  the  wane.  The 
potter  is  generally  a Wesleyan,  in  atonement,  I suppose,  for  the  shower  of  bricks 
and  stones  hurled  at  Wesley  on  his  first  visit  to  Burslem.  He  takes  a strong  interest 
in  politics,  mostly  in  the  winter,  for  at  other  times  his  beloved  patch  of  garden 
occupies  all  his  leisure.  Beer  is  his  favorite  beverage,  but  of  late  years,  thanks  to 
the  influence  of  such  institutions  as  the  Wedgwood  Institute  and  the  Schools  of 
Design,  of  which  each  town  boasts  of  one,  the  present  generation  is  more  sober  and 
better  educated,  whilst  losing  nothing  of  the  kindheartedness  and  hospitality  for 


THE  STAFFORDSHIRE  POTTERIES. 


51 


which  they  have  always  been  celebrated.  Sixty  years  ago  at  Burslem  there  was 
but  one  old  constable  in  the  town.  He  was  named  Cooper  and  was  often  greatly 
distressed  on  Saturday  night,  his  complaint  being  “What  can  I do?  They’re  faight- 
ing  from  Enoch  Woods  to  Billy  Barlow’s.  If  there’ s one  man  stripped  to  his  buff  there’s 
a hundred  ; and  if  I charge  the  peace  it’s  no  use,  for  they  won’t  take  any  notice 
of  me.”  Every  year  at  the  annual  holiday,  “ the  Wakes,”  there  was  bull  baiting  in 
the  public  square  and  on  the  Green.  The  bull  baiting  has  long  been  discontinued, 
but  the  wakes  are  still  an  honored  institution,  though  yearly  they  are  less  patron- 
ized, the  potter  finding  more  enjoyment  in  a trip  to  the  seaside  than  amongst  the 
crowd  of  itinerant  showmen,  who  for  the  nonce  monopolize  the  public  square. 
With  all  its  blackness,  no  district  has  a brighter  border  land  than  that  which  sur- 
rounds the  Potteries.  Remnants  of  vast  forests  that  one  time  covered  the  district, 
remain  at  Trentham,  the  seat  of  the  Duke  of  Sutherland,  and  the  park  and  woods 
are  free  to  all.  Alton  Towers,  Lord  Shrewsbury’s  estate,  is  but  a few  miles  distant 
and  that  in  turn  is  close  to  Dovedale  immortalized  by  Isaac  Walton,  whilst  nearer 
home  the  Moorlands  at  Leek,  or  the  historic  ground  beyond  Newcastle,  open  up 
wide  fields  of  enjoyment  and  the  potter  at  his  leisure  explores  them  all.  An  ardent 
sportsman,  he  industriously  whips  the  streams  of  the  Dove  or  Blyth,  and  recounts 
his  adventures  at  the  monthly  meeting  of  the  club  to  which  he  belongs,  between 
the  puffs  from  his  long  Brosely  or  more  convenient  briar,  for  to  him  the  cigar  is  an 
almost  unknown  quantity. 

The  Potteries  are  often  confounded  with  the  Black  Country,  a district  engaged 
in  the  iron  trade  and  in  the  southern  part  of  Staffordshire. 


52 


ROUGH  NOTES  ON  POTTERY. 


France. 


Bernard  Palissy. 


Bernard  Palissy  in  the  galaxy  of  eminent 
potters  stands  out  in  bold  relief,  and  the 
romance  of  his  life,  as  told  by  himself,  is 
one  of  the  most  thrilling  autobiographies 
ever  written.  Professor  Henry  Morley  in 
his  “ Palissy,  the  Potter,”  has  produced  a 
work  of  rare  interest  and  I would  strongly 
urge  those  who  have  not  read  it  to  do  so. 

Bernard  Palissy  was  born  at  La  Cbapelle 
Biron,  province  of  Perigord,  France,  in  the 
year  1510.  His  father  was  a glass  painter 
and  he  taught  his  son  the  same  art.  At  a 
very  early  age,  owing  to  the  poverty  of  his 
parents,  he  was  thrown  upon  his  own 
resources  for  even  the  most  rudimentary 
education.  His  indomitable  energy  was  a 
marked  trait  in  his  character,  even  as  a boy, 
and  he  read  and  studied  every  book  within 
his  reach  and  acquired  more  than  a rudi- 
mentary knowledge  of  chemistry,  geology  and  botany.  The  training  for  his  art  as 
a glass  painter  made  him  a skilled  draughtsman  and  taught  him  the  manipulation 
of  colors.  Upon  completing  his  apprenticeship  he  married  and  settled  at  Saintes, 
varying  his  occupation  by  portrait  painting  and  land  surveying,  whilst  to  his  studies 
he  added  history  and  classical  mythology.  One  day,  not  many  years  after  his  mar- 
riage, he  saw  a fine  piece  of  enameled  pottery.  Charmed  with  its  surface,  “ soft  as 
the  touch  of  a baby’s  hand,”*  he  determined  to  master  the  secret  of  its  manufacture. 
Knowing  absolutely  nothing  of  the  art  of  Pottery,  totally  unacquainted  with  the 
composition  of  the  enamel,  he  bent  himself  to  the  task  of  mastering  it  with  the 
determination  characteristic  of  him.  At  the  neighboring  village  of  La  Chapelle  des 
Pots,  he  learned  the  rudiments  of  the  potter’s  art ; his  own  profession  had  taught 
him  something  of  painting  and  firing  of  enamel  colors,  and  on  this  slender  basis  he 
commenced  his  experiments. 

Year  after  year  he  struggled  on,  often  groping  blindly,  sometimes  with  a gleam 
of  hope,  but  never  wholly  disheartened.  His  friends  and  neighbors  looked  upon 
him  as  a madman.  Often  his  wife  and  children  went  supperless  to  bed,  the  last 
penny  spent  to  purchase  the  wherewithal  to  pursue  his  investigations.  In  vain  his 
wife  pleaded  ; the  kiln  with  its  capacious  and  unrelenting  maw  swallowed  up  every- 
thing and  the  direst  poverty  stared  them  in  the  face.  For  nearly  sixteen  years  he 
struggled  on,  enduring  the  reproaches  of  his  wife,  the  death  of  his  children,  the 
pathetic  look  of  hunger  in  the  faces  of  those  spared  to  him,  and  the  revilings  of  his 


Palissy. 


*Right  Hon.  W.  E.  Gladstone  in  a speech  at  Burslem. 


FRANCE. 


53 


neighbors.  He  felt  that  he  was  nearing  the  solution  of  the  problem,  but  with 
exhausted  credit  he  could  no  longer  procure  fuel  to  fire  his  kiln.  Success  he  felt 
was  within  his  grasp,  and  undaunted  by  failure,  he  sacrificed  his  furniture  for  fuel. 
One  by  one  the  few  domestic  articles  disappeared  in  the  kiln,  his  wife  and  children, 
hungry  and  ragged,  in  vain  imploring  him  to  desist.  If  this  failed,  it  was  of  neces- 
sity his  last  experiment.  The  very  last  stick  of  furniture  had  been  thrust  in  the 
kiln,  the  house  had  been  stripped  of  every  vestige  of  woodwork  and  who  shall 
attempt  to  portray  with  what  emotions  Palissy  awaited  the  result.  At  last  the 
time  arrived  when  he  should  know  whether  he  had  been  successful  or — but  he 
dared  not  face,  even  to  himself,  the  alternative.  With  trembling  hands  he  drew 
the  few  pieces  from  the  kiln — for  a moment  he  dared  not  trust  his  senses — he 
looked  again — the  enamel  had  fused  and  the  success  he  had  toiled  for  so  long  had 
come. 

For  some  years  Palissy  enjoyed  untroubled  reward  for  his  years  of  toil  and 
unflinching  tenacity  of  purpose,  patronized  by  Catharine  de  Medici; — courted  by 
those  who  had  previously  reviled  him  as  a madman.  He  becamed  enthralled  with 
the  doctrines  of  the  Reformation,  devoted  himself  heart  and  soul  to  the  cause,  and 
in  1558  was  arrested  and  imprisoned  at  Bordeaux,  his  kilns  and  materials  being 
destroyed.  Through  the  intervention  of  the  king,  he  was  liberated  in  1563  and  set 
up  a pottery  in  Paris,  where  until  1588,  he  lived  and  prospered,  but  a fresh  wave 
of  religious  intolerance  swept  over  the  country  and  he  was  in  that  year  sent  to  the 
Bastile.  Henry  III.  offered  him  his  freedom  if  he  would  recant,  but  the  stern  old 
potter  indignantly  refused,  and  he  was  sentenced  to  execution,  but  died  in  1589, 
before  it  was  carried  out,  nearly  eighty  years  of  age. 

Palissy  occupied  an  important  position  as  a writer,  perhaps  more  so  than  a pot- 
ter. He  wrote  on  such  varied  subjects  as  religion,  agriculture,  and  natural  philoso- 
phy, but  his  book,  “ L’  Art  de  terre,”  in  which  he  gives  the  story  of  his  life  and  works 
is  perhaps  his  best  known  work.  We  know  from  this  book  that  Palissy  was  aware 
that  the  enamel  was  in  common  use  in  Italy  at  the  time  he  was  making  his  experi- 


54 


ROUGH  NOTES  ON  POTTERY. 


merits  (as  also  it  was  at  Rouen),  and  that  its  secret  could  have  been  learned  in  the 
workshop  there,  “but  in  no  workshop  could  he  have  learned  the  secret  of  his 
enamels,  so  pure,  so  brilliant,  so  rich  and  deep  in  tone,  that  they  have  never  been 
equalled  since,  and  admittedly  rank  amongst  the  most  wonderful  production  of 
human  industry.”  His  first  productions,  to  use  his  own  words,  were  “those  ves- 
sels of  intermixed  colors  after  the  manner  of  Jasper.”  They  are  warmly  and  bril- 
liantly colored  and  covered  with  a pure  and  deeply  toned  glaze.  Later  he  made 
his  celebrated  Rustic  dishes,  decorated  with  realistic  figures  of  natural  objects, 
snakes,  fish,  insects,  shells  and  plants.  There  is  a wonderful  wealth  of  detail  in 
these,  ensured  by  moulds  taken  from  casts  made  from  the  objects  themselves.  The 
body  was  a hard,  well  fired  earthenware.  His  later  works  somewhat  deteriorated 
and  lacked  the  care  and  finish  bestowed  on  earlier  specimens.  Unfortunately  Palissy 
did  not  confide  to  others  the  secret  of  making  his  enamel  and  it  died  with  him. 

There  are  obvious  inferences  to  be  drawn  from  the  life  of  Palissy,  and  we  must 
not  allow  his  success  to  blind  us  to  his  neglect  of  his  wife  and  family.  A row  of 
tiny  graves,  a neglected  wife,  a desolate  home,  all  rise  before  our  vision,  and  we  are 
tempted  to  ask  whether  success  was  not  purchased  at  too  great  a cost. 

Imitations  of  Palissy  ware  have  been  made  by  Barbizet,  of  Paris ; Avisseau,  of 
Tours,  and  Calder,  in  Portugal, 


Faience  cTOiron. 


THIS  celebrated 
ware  is  often 
i n correctly 
called  “ Henri  deux” 
ware,  it  being  thought 
to  be  the  production  of 
a pottery  established  un- 
der that  monarch’s  pa- 
tronage, owing  to  the 
frequency  of  his  emblem 
forming  a component 
part  of  the  decoration. 
Comparatively  recent 
research,  however,  has 
established  its  real  ori- 
gin by  incontrovertible 
documentary  evidence.  It  was  made  between  the  years  1524  and  1537,  at  the 
Chateau  d’Oiron,  in  the  province  of  Thouars  in  France,  by  Francois  Cherpentier 
and  Jehan  Bernart,  under  the  direction  of  a wealthy  lady  named  Helene  de  Han- 
gest.  It  appears  to  have  been  made  entirely  for  presentation  purposes,  and  only  about 
fifty  pieces  are  said  to  be  in  existence.  There  are  eleven  pieces  in  the  Louvre,  five 
in  the  South  Kensington  Museum,  and  the  remainder  in  the  hands  of  private  collec- 


FRANCE. 


55 


tors,  mostly  the  Rothschilds.  From  their  rarity  the  specimens  are  extremely  val- 
uable, ranging  in  value  from  four  to  forty  thousand  dollars  each.  The  forms  are  in 
most  cases  very  elaborate,  and  consist  of  ewers,  salt  cellars,  tazzas,  plates,  &c 
The  ware  is  a fine  white  clay  to  which  a delicate  cream  tint  is  given,  by  a very 
slight  tinge  of  yellow  in  the  glaze.  The  patterns,  which  were  very  intricate  and 
seem  to  have  been  suggested  by  the  highly  ornate  book  covers  of  the  period,  were 
first  incised  or  impressed  in  the  clay,  and  then  these  sunk  portions  were  filled  up 
with  different  colored  clays  in  dark  brown,  soft  yellow  and  buff.  As  all  these  clays 
had  to  shrink  during  the  firing  in  exactly  the  same  proportion,  the  difficulties  attend- 
ing the  manufacture  can  be  readily  estimated.  It  is  this  triumph  of  potting  that 
gives  them  their  especial  value.  After  the  death  of  Helene  de  Hangest,  in  1537, 
the  manufacture  was  carried  on  under  the  direction  of  her  son,  but  the  artistic 
spirit  of  his  mother  was  wanting,  and  after  the  death  of  Cherpentier  and  Bernart, 
the  manufacture  fell  into  inexperienced  hands,  was  neglected,  decayed  and  soon 
disappeared  altogether.  The  mark  plate  3,  fig.  23,  is  often  incorporated  in  the 
designs.  Mintons  produced  some  excellent  copies  of  this  ware,  executed  by 
Charles  Toft,  as  did  also  Deck  of  Paris,  but  they  have,  of  course,  only  a relative 
value. 


French  Faience  and  Earthenware. 


LTHOUGH  the  production  of  faience 
was  vigorously  carried  on  in  Italy  during 
the  16th  century,  except  for  a few  isola- 
ted cases  the  art  was  not  established  in 
France  (although  that  period  could  boast 
of  two  distinct  kinds  of  pottery,  which 
secured  immortal  fame : the  Oiron  and 
the  Palissy  wares)  until  the  following 
century.  The  industry  then  assumed 
great  importance  and  for  upwards  of  a 
century  France  had  no  rival  in  the  art. 
The  French  productions  were  distinctly 
characteristic,  establishing  certain  clas- 
sifications by  which  they  are  still  known. 
Rouen,  Nevers,  Moustiersand  Strasburg, 
each  suggests  a certain  style.  During 
the  first  period  the  decoration  was 
applied  on  the  unfired  enamel;  and 
towards  the  middle  of  the  18th  century 
this  gave  place  to  decorations  on  the 
enamel  which  had  first  been  fired. 
Nevers  ware  is  important  on  account 
of  its  extent.  From  an  artistic  point 
it  had  little  influence,  because  it  lacked 


Nevers  Vase, 


56 


ROUGH  NOTES  ON  POTTERY. 


originality.  Its  designs  were  mostly  copies,  or  adapted  from  Italian  or  Chinese 
originals.  During  its  last  period  it  was  greatly  debased,  consisting  mostly  of  figure 
subjects,  poorly  drawn  and  executed,  and  often  overstepping  the  bounds  of  decency. 
(Plate  1,  fig.  14).  To  all  these  objections  there  is  one  notable  exception.  Cer- 
tain pieces,  probably  manufactured  by  Custode,  have  an  exquisite  Persian  blue 
ground,  decorated  with  white  enamel  and  sometimes  low  tones  of  yellow.  Nothing 
can  equal  this  blue  glaze  for  purity  and  depth,  and  though  many  tried  to  equal  it 
they  signally  failed  in  the  attempt.  It  greatly  resembles  and  can  easily  be  mis- 
taken for  Persian 


Faience  d’Oiron.  Biberon.  (See  page  54.) 

Rouen  is  celebrated  for  the  beautiful  and  elaborate  style  of  decoration  originated 
there  consisting  of  alternate  repeated  ornaments  called  d lambrequins , the  designs 
being  adapted  from  textile  fabrics,  lace,  &c.  These  are  mostly  in  blue,  sometimes 
heightened  with  indian  red,  a color  identified  with  the  Norman  town  and  which 
others  vainly  tried  to  imitate.  Another  decoration  was  termed  rayonnant  in  which 
the  design  rising  from  the  border  of  the  piece  converges  to  the  centre. 


FRENCH  FAIENCE  AND  EARTHENWARE, 


57 


58 


ROUGH  NOTES  ON  POTTERY. 


to 


Towards  the  middle  of  the  18th  century,  polychrome  decoration  was  freely 
used  and  this  induced  a change  of  style,  borders  of  flowers  giving  place  to  more 
conventional  designs.  The  11  Cornucopia  ” pattern  was  the  last  success  of  Rouen, 
for  the  increased  use  of  porcelain,  the  treaty  admitting  English  earthenware  and 

political  events 
combin  ed 
bring  about  the 
decline  offaience, 
and  at  the  close 
of  the  18  th  cen- 
tury no  traces 
were  left  of  this 
beautiful  indus- 
try. (Plate  4,  fig. 
2 1).  Moustiers 
ware  was  re- 
markable for  the 
purity  of  its 
milky  white  en- 
amel, and  for  the 
finish  and  deli- 
cacy of  the  orna- 
mcntation, 
though  conceived 
in  a less  decora- 
tive style  than 
that  of  Rouen. 
Our  engraving 
represents  a pla- 
teau with  painted  centre,  copied  from  an  engraving  by  Antonio  Tempesta,  a celebra- 
ted Florentine  engraver  of  the  17th  century.  (Plate  4,  fig.  54.) 

Strasburg  had  also  important  factories,  and  the  industry  there,  carried  on  in 
face  of  almost  insurmountable  obstacles,  owes  its  prominence  to  the  Hannongs. 
Charles  Hannong,  a manufacturer  of  pipes  and  large  stoves,  was  joined  in  1721  by  a 
German  named  Wackenfeld,  who  had  left  the  Meissen  factory,  and  they  commenced 
the  manufacture  of  faience  and  porcelain.  So  successful  were  they  that,  in  1750, 
Hanuong’s  son  Paul  being  then  sole  proprietor,  the  manufactory  at  Vincennes 
became  alarmed,  and  they  obtained  an  order  from  the  king  forbidding  Hannong  to 
continue  the  making  of  porcelain,  and  this  decree  was  carried  out.  The  unfortu- 
nate potter  was  obliged  to  leave  Strasburg,  but  the  faience  business  was 
continued  by  his  sons  Pierre  and  Joseph.  To  faience  they  adopted  porcelain  deco- 
rations, a departure  almost  equivalent  to  the  production  of  a new  ware.  These 
delicate  decorations,  the  richness  and  variety  of  the  coloring  and  the  elegance  of 
the  shapes,  caused  the  imposition  of  a very  heavy  tax,  equal  to  that  imposed  on 
foreign  goods,  against  which  Hannong  fought  in  vain.  Financial  disaster  fol- 
lowed, and  like  his  father  he  had  eventually  to  leave  his  country,  and  died  in 
poverty  a few  years  later.  In  addition  to  tableware,  large  pieces,  such  as  clocks, 


ROUEN-STRASBURG  SCHOOL. 


59 


fountains,  etc.,  exhibiting  great  skill  in  coloring  and  modeling  were  produced. 
Our  illustration  is  of  a fountain,  now  in  the  South  Kensington  Museum,  repre- 
senting Amphitrite  on  a shell  drawn  by  a dolphin  (plate  1,  fig.  15). 

These  four  centres  all  had  their  imitators.  At  first  only  slavish  copies  were 
made,  but  later  they  developed  some  originality.  Of  the  school  of  Rouen  may  be 
mentioned  : 

Sincenny , founded  in  1713.  A prominent  characteristic  was  the  employment  of 
a beautiful  and  vivid  lemon  color.  (Plate  4,  fig.  41). 

Quimper , under  the  direc- 
tion of  Pierre  Causy.  The 
body  was  coarse  in  texture 
and  the  enamel  gray  in  tone, 
the  outlines  of  the  decorations 
roughly  traced  in  manganese. 
This  manufactory  was  revived 
by  La  Hubaudiere  & Co. 

Lille.  Faience  and  soft 
and  hard  porcelain  were  all 
made  here.  The  faience  man- 
ufacture was  started  in  1796, 
by  Jacques  Feburier,  and  be- 
came important  under  his  suc- 
cessor, Francois  Boussemart 
(plate  4,  fig.  42). 

Soft  porcelain  manufac- 
ture was  started  by  Barthel- 
emy  Dorez  and  Pierre  Pelis- 
sier.  The  decorations  were 
principally  reproductions  o f 
St.  Cloud,  but  were  more 
delicately  executed,  though 
the  body  was  less  white  and 
pure. 

Hard  porcelain  was  made 
under  Liperre-Durot,  who  was 
the  first  to  employ  coal  in 
firing,  a piece  in  the  Sevres 
museum  bearing  an  inscrip- 
tion to  that  effect  and  bearing  date  1785.  The  factory  was  unaer  the  pationa&e 
of  the  Dauphin,  son  of  Louis  XVI.  (Plate  4,  fig.  43). 

Of  the  Strasburg  School,  the  most  important  was  : 

Niederviller.  Founded  about  1742,  by  Jean  Louis  de  Beyerle,  with  the  assist- 
ance of  Strasburg  potters.  His  wife,  a woman  of  excellent  taste,  supplied  many  of 
the  designs  and  equalled  in  skill  the  decorators  who  had  been  brought  from  Saxony. 
Under  Beyerle’s  management  the  manufacture  of  china  was  introduced.  Some- 
where from  1774  to  1780,  he  was  succeeded  by  Count  Custine,  who  appointed  Fran- 
cis Lanfrey,  one  of  the  ablest  ceramists  of  the  time,  as  manager.  Under  his  care  it 


60 


ROUGH  NOTES  ON  POTTERY. 


gained  considerable  importance,  the  china  almost  equalling  Sevres,  the  decorations 
remarkable  for  their  delicacy  and  taste.  The  manufacture  of  faience  was  discon- 
tinued in  1785.  A very  talented  sculptor,  Charles  Sauvage,  generally  called  Lemire, 
by  his  tasteful  productions,  did  much  to  increase  the  reputation  of  the  factory. 
Count  Custine  fought  with  Lafayette  in  the  war  for  Independence.  He  presented 
Washington  with  a handsome  service  made  at  his  factory,  decorated  with  Wash- 
ington’s coat-of-arms  and  initials.  He  also  issued  a beautifully  modeled  group  of 
Benjamin  Franklin  and  Louis  XVI.  During  the  French  Revolution  of  1789,  Cus- 
tine was  suspected  of  disloyalty  to  the  Revolutionists  because  of  his  aristocratic 
birth,  was  tried  and  found  guilty  and  duly  guillotined  the  same  day.  (Plate  4,  figs. 
31  and  52). 

Nancy.  Founded  in  1774  by  Nicholas  Lelong,  who  was  fortunate  enough  to 
secure  the  services  of  the  celebrated  sculptor  Clodion,  who  executed  the  most 
charming  and  graceful  statuettes,  now  so  highly  prized  as  to  be  worth  their  weight 
in  gold. 

Islettes.  Started  in  1737,  survived  until  1830.  Its  principal  characteristic  was 
military  subjects,  painted  in  brilliant  colors  and  outlined  in  black. 

Aprey.  Established  in  1750.  The  productions  of  Jarry,  a very  talented  bird 
and  flower  painter,  are  much  esteemed.  The  shapes  were  graceful  in  the  extreme, 
and  were  principally  copies  from  models  of  goldsmiths.  (Plate  4,  fig.  44). 

Marseilles  had  several  factories.  That  of  Savy  was  visited  in  1777  by  Monsieur 
le  Comte  de  Provence,  brother  of  Louis  XVI,  v^ho  authorized  the  use  of  the  title 
“ Manufactures  de  Monsieur  Frere  du  Roi.”  Many  pieces  broadly  decorated  with 
flowers,  outlined  and  shaded  in  black,  were  painted  over  with  a beautiful  iridescent 
green,  which  is  not  found  elsewhere.  (Plate  4,  fig.  49).  Other  factories  were  those  of 
Joseph  Robert  and  the  widow  Perrin.  (Plate  4,  figs.  50,  51). 

Sceaux , near  Paris,  was  under  the  patronage  of  the  Duchesse  du  Maine,  and 
later  that  of  the  Due  de  Penthieve,  grand  admiral  of  France.  It  became  celebrated 
under  the  direction  of  Chapelle,  but  reached  its  zenith  under  Richard  Glot,  a clever 
ceramist  and  skilful  sculptor  of  ornaments.  The  faience  body  is  very  fine  and  hard. 
Figures,  flowers,  birds  and  arabesques,  are  the  usual  decoration,  and  are  generally 
enriched  with  delicately  carved  ornaments  and  mouldings.  In  1794,  Glot  sold  the 
factory  to  Cabaret,  but  he  could  not  maintain  the  prestige  his  predecessor  had  given 
the  works,  and  shortly  afterwards  confined  himself  to  domestic  articles.  Soft  china 
was  also  made  under  Glot,  and  it  was  of  the  same  perfect  manufacture  and  delicacy 
of  treatment  as  characterized  the  faience.  (Plate  4,  figs.  28  and  48).  There  were 
also  other  faience  manufactures  at  Reunes,  Montpellier,  St.  Amand-les-Eaux,  (Plate 
4,  fig.  53)  Orleans  and  Apt.  None  of  them  were  of  great  importance,  or  call  for 
more  than  passing  mention.  At  St.  Omar  figure-pieces  w ere  produced  in  the  Bor- 
deaux style,  together  with  vegetable-dishes  and  soup-tureens  in  the  shape  of  cauli- 
flowers and  other  vegetables. 

It  is  necessary  to  revert  for  a moment  to  preceding  events  before  speaking  of 
more  modern  French  pottery.  During  the  existence  of  the  Rouen,  Strasburg  and 
other  manufactories,  the  industry  had  been  protected  by  an  almost  prohibitory  duty 
on  English  earthenware,  but  in  1786,  a new  treaty  was  made  between  France  and 
England,  admitting  English  earthenware  at  a duty  of  twelve  per  cent.  This  and  the 
increased  production  of  china  in  France,  proved  the  downfall  of  the  French  faience 


COMPTOIR  CERAMIQUE. 


61 


factories,  the  industry  disappeared  altogether  for  a period  of  sixty  years,  when 
faience  again  came  into  fashion,  old  models  and  designs  were  brought  into  requisi- 
tion and  faience  articles  were  made  and  decorated  in  the  style  of  the  last  century, 
so  that  it  was  difficult  to  distinguish  the  old  from  the  new.  English  earthenware 
too  was  much  cheaper  and  lighter  and  the  shapes  much  more  beautiful. 

To  avoid  confusion  the  word  faience  is  used  in  this  article  to  denote  a body  cov- 
ered with  an  opaque  tin  glaze ; earthenware,  a body  with  a transparent  lead  glaze. 

Under  the  above  mentioned  conditions  many  English  potters  migrated  to 
France  and  founded  factories  there  as  will  be  seen  from  the  following  brief  sketches 
of  the  various  factories  forming  the  Comptoir  Ceramique,  an  oganization  recently 
formed  to  regulate  production  and  prices.  There  are  of  course  other  earthenware 
factories  in  France,  altogether,  I believe,  about  372,  but  they  are  either  of  very 
small  importance,  or  there  were  no  facilities  for  obtaining  information  either  as  to 
their  history  or  productions. 

Longwy.  The  industry  here  was  established  by  the  Boch  freres  towards  the 
end  of  the  last  century.  About  1839  it  passed  into  the  hands  of  D’Huart  de  North- 
comb,  and  is  now  D’Huart  freres.  Email  craquele  wa3  a distinguishing  feature  and 
brought  the  works  into  prominence.  Colored  stannifferous  enamels  of  great  bril- 
liancy were  employed,  giving  very  effective  and  striking  results.  This  crackle 
ware  has  lately  been  abandoned,  or  produced  very  sparingly,  but  they  have  yet  to 
demonstrate  their  ability  to  produce  something  as  strikingly  original  and  with  as 
much  individuality  as  the  email  craquele.  A few  staple  goods  are  also  produced 
here. 

Montereau.  William  Clark,  from  Newcastle,  and  Ralph  Shaw,  a Burslem  pot- 
ter, the  latter  after  experimenting  at  Lille,  obtained  in  1775,  a subsidy  from  the 
Government,  and  started  a manufactory  of  earthenware  and  cream  color.  In  1790 
there  were  two  factories  at  Montereau.  In  1810  it  came  into  the  possession  of  De 
St.  Criq,  who  transferred  it  in  1829  to  Lebauf  & Thiebaut. 

Creil  was  also  established  by  English  potters,  who  made  printed  earthenware 
and  semi- porcelain.  It  was  transferred  to  Lebauf,  Milliet  & Co.  and  De  St.  Criq  & 
Co.  Semi-porcelain  was  made  until  1860,  after  which  the  business  was  restricted 
to  earthenware.  For  the  present,  on  account  of  economic  reasons,  the  factory  has 
been  transferred  to  Montereau.  Twenty  years  ago  both  factories  were  at  their 
zenith,  but  a period  of  disaster  followed,  and  it  has  been  a stubborn  fight  to  recover 
their  lost  prestige.  Staple  goods  only  are  produced. 

Gien.  Hall,  an  Englishman,  who  had  been  at  Montereau,  founded  the  industry  here 
in  1820.  In  1866  the  old  works  were  pulled  down  and  a modern  factory  erected. 
In  1870  the  factory  was  devoted  entirely,  or  almost  so,  to  the  imitation  of  old 
Rouen,  Nevers  and  Strasburg  dinner  ware  by  the  decalcamanie  process,  in  which 
they  were  eminently  successful,  and  specimens  are  now  much  sought  for.  At  pres- 
ent ornamental  goods  only  are  produced. 

Sarreguemines.  Founded  by  Paul  Utzchneider  in  1770,  and  is  still  carried  on 
under  the  name  of  Utzchneider  & Co.  (plate  3,  figs.  33  and  34).  To  retain  its  claim 
as  a French  factory  the  firm  have  recently  opened  a branch  works  at  Degoin  in 
France.  The  manufacturers  were  varied,  ranging  from  china  and  earthenware  to 
figures  and  groups  in  biscuit  and  Wedgwood  Jasper  ware,  and  have  always  had  a 
high  reputation.  For  the  moment  they  are  producing  some  very  effective  large 


62 


ROUGH  NOTES  ON  POTTERY. 


vases  and  pedestals  in  majolica,  and  are  devoting  a good  deal  of  attention  to  Art  Tiles. 

Choisy  le  Roi.  Messrs.  H.  Boulanger  & Co.  make  large  quantities  of  staple 
goods  principally  for  the  Paris  market,  and  some  ornamental  pieces  very  decorative 
in  character.  (Plate  3,  fig.  35.) 

Bordeaux  Founded  in  1714  by  Hustin.  Its  first  productions  were  in  the 
Rouen  style.  Afterwards  large  numbers  of  vegetable  dishes  in  the  shape  of  a bird, 
generally  a turkey  or  duck,  were  made,  such  as  are  now  used  as  a receptacle  for 
eggs.  Of  late  years  ornamental  goods  decorated  in  barbotine  have  been  the  princi- 
pal production,  but  the  establishment  has  been  bought  out  and  closed  by  the 
syndicate.  (Plate  4,  fig.  46.) 

Luneville.  This  important  factory  was  founded  about  1729  by  Jacques  Cham- 
brette.  The  style  of  Nevers  and  Strasburg  was  followed  and  an  almost  instan- 
taneous success  resulted.  To  such  proportions  did  the  business  grow  that  Cham- 
brette  built  two  other  factories,  one  at  Luneville  and  the  other  at  St.  Clement,  six 
miles  distant.  King  Stanislas  had  been  a patron  of  the  works,  and  upon  the  death 
of  Chambrette,  in  1858,  when  the  business  came  into  the  hands  of  his  son  and  son- 
in-law,  Charles  Loyal,  the  king  confirmed  the  privileges  already  granted  and  gave 
to  the  pottery  the  title  of  Manufacture  Royale.  About  1772,  the  prosperity  of  the 
three  factories  began  to  decline,  Chambrette  became  bankrupt  and  the  management 
of  them  devolved  upon  Loyal.  In  the  St.  Clement  factory  he  gave  an  iuterest  to 
Cyfile,  the  sculptor,  but  his  means  were  soon  exhausted  and  in  1778  he  sold  the  two 
Luneville  factories  to  Sebastien  Keller,  whose  direct  descendants  are  now  the  pro- 
prietors. He  kept  on  the  St.  Clement  works  for  some  time  but  had  finally  to  sur- 
render it,  and  after  undergoing  many  experiences,  in  1824  it  came  into  the  hands  of 
Mr.  Germain  Thomas,  under  whose  skilful  direction  the  adverse  tide  was  turned. 
It  remained  in  his  family  until  1890,  when  it  was  purchased  by  Keller  and  Guerin, 
a son  of  Mr.  Thomas  continuing  as  its  director. 

The  Luneville  factories  owe  much  of  their  importance  to  the  sulptor  Cyfile,  the 
author  of  many  charming  and  greatly  admired  statuettes.  Cyfile  went  to  Lune- 
ville in  1746,  where  he  was  entrusted  with  several  important  works  by  the  king’s 
sculptor,  but  these  were  large  allegorical  subjects,  and  were  not  to  his  liking,  and 
he  soon  devoted  himself  to  small  statuettes,  generally  depicting  scenes  in  humble 
life,  such  as  “ The  Cobbler  Whistling  to  his  Starling,”  ‘‘The  Savoyard  Chimney- 
sweep,” “ The  Gardener  and  his  Wife,”  and  such  like  subjects.  He  was  of  a free 
and  easy  nature,  fond  of  the  wine  shop,  and  was  at  his  best  when  reproducing 
popular  scenes  and  types.  His  sense  of  humor  was  of  the  keenest,  “his  knowl- 
edge of  modeling,  truthfulness,  skill  and  delicacy  of  touch  were  essentially 
typical  and  personal  and  imparted  value  even  to  his  least  important  works.” 
His  profligate  life  prevented  him  from  acquiring  the  wealth  his  talents  entitled 
him  to,  and  he  died  at  Bruges,  his  native  city,  in  1806,  in  poverty  and  obscurity. 
His  statuettes  were  always  in  white  and  are  known  as  terre  de  Luneville.  Many 
of  the  original  moulds  are  still  in  the  possession  of  Keller  and  Guerin.  They  were 
at  one  time  reproduced  by  them,  but  it  is  some  time  now  since  any  have  been 
issued.  The  Bellevue  Pottery  had  some  moulds  made  from  casts  of  the  original,  but 
the  Luneville  statuettes  alone  are  marked,  impressed  in  the  clay 

Cyfile 


A LUNEVILLE. 


FRENCH  EARTHENWARE. 


63 


They  have  in  France  a proverb  : 11  Se  regarder  comme  des  chiens  de  faience  ” 
(to  stare  at  one  another  like  crockery  dogs).  Luneville  produced  large  faience 
pieces  in  the.  shape  of  huge  dogs,  and  it  became  the  fashion  to  place  one  of  these 
on  each  side  of  the  door,  and  hence  the  proverb. 

To  have  carried  the  factory  successfully  through  the  troublous  times  at  the 
close  of  the  last  century,  is  evidence  of  no  small  ability  on  the  part  of  Mr.  Keller, 
especially  as  he  had  begun  to  develop  a higher  class  of  wares,  a development  admir- 
ably carried  out  by  his  son,  the  present  proprietor  and  his  partner,  Mr.  Guerin.  The 
present  productions  at  Luneville  are  so  varied  that  we  can  only  here  briefly  glance 
at  one  or  two  of  them.  Staple  goods  are  produced  in  abundance  and  of  an  infinite 
variety,  bowls  and  cups  and  saucers  predominating.  Turning  to  the  higher 
branches  of  art,  we  find  a varied  collection  of  ornamental  goods  in  which  pieces  of 
heroic  size  predominate. 

A vase  with  thistle  decoration  is  over  five  feet  high  and  is  enriched  with  a 
luminous  sea-green  glaze.  This  decoration  is  also  applied  to  a variety  of  shapes 
and  sizes.  There  are  many  reproductions  of  the  best  specimens  of  the  old  Rouen 
and  Strasburg  faience,  carefully  executed,  both  in  technique  and  design.  Vases,  both 
large  and  small,  with  flower  subjects  painted  on  the  wet  clay  and  covered  with  a 
warm  reddish  brown  glaze  of  exceeding  softness  and  apparently  inexhaustible 
depth,  rivet  your  attention,  and  you  are  undecided  whether  the  charm  lies  in  the 
exquisite  modeling  and  drawing  of  the  flowers,  or  whether  there  is  not  some  sug- 
gested quality  you  can  hardly  define. 

A few  months  ago  Messrs.  Keller  and  Guerin  discovered  the  secret  of  produc- 
ing what  is  termed  reflets  metalliques.  It  is  difficult  to  describe  exactly  the  effect 
produced.  The  piece,  whether  it  be  vase  or  placque,is  painted  with  various  metal- 
lic oxides,  principally  copper  and  silver,  and  during  the  process  of  firing,  artificial 
currents  of  air  are  introduced  in  the  kiln,  which  causes  a partial  crystalization  of  the 
oxides  in  the  pigments,  leaving  a beautiful  metallic  deposit  of  so  iridescent  a nature 
that  the  painting  presents  almost  kaleidoscopic  changes  of  color  when  seen  in  vary- 
ing lights.  No  two  pieces  are  alike,  so  there  can  be  no  duplicates.  They  are  the 
only  firm  who  produce  these  reflets  metalliques  on  earthenware.  ( Plate  3,  figs.  37, 
38,  39). 

Montagnon  of  Nevers  shares  the  honors  with  the  above  house  in  his  reproduc- 
tions of  old  French  faience. 

Clement  Massier,  Golfe  Juan  Pottery  in  the  south  of  France,  produces  mostly 
large  jardinieres  and  pedestals,  in  glazes  suggestive  of  lapis  lazuli,  cornelian  and 
agate.  The  pieces  are  all  splendidly  potted  and  the  glazes  are  veritable  triumphs. 
No  words  can  do  them  justice.  They  must  be  seen  to  be  appreciated.  M.  Massier 
was  the  first  to  re-discover  the  reflets  metalliques , applying  the  process  to  faience. 

Of  recent  years  no  one  has  done  more  for  the  Ceramic  Art  than  Theodor  Deck 
of  Paris,  and  France  may  justly  be  proud  of  him.  Of  pure  and  delicate  taste,  he 
has  overcome,  one  by  one,  all  difficulties,  whether  the  revival  of  that  splendid  car- 
nation red,  the  secret  of  which  was  previously  known  only  to  the  potters  of  the 
East,  the  re-discovery  of  Chinese  enamels,  or  the  imitation  of  Faience  d’Oiron. 
With  the  help  of  the  best  artists  obtainable,  he  has  founded  a distinct  style  of  his 
own,  a style  that  future  generations,  no  less  than  that  of  to-day,  will  recognize  as 
representing  all  that  is  noblest  in  the  Ceramic  Art. 


64 


ROUGH  NOTES  ON  POTTERY. 


France=  Porcelain. 

(St.  Cloud— Chantilly — Vincennes — Sevres.) 


FRENCH  CHINA  is  of  two  kinds,  pate  tendre  (soft  or  artificial  porcelain),  and 
pate  dure  (hard  or  natural  Kaolonic  porcelain).  The  importation  of  Chinese 
porcelain  into  Europe  stimulated  the  potters  of  every  country  to  discover 
its  properties,  or  make  an  imitation  of  it.  Although  no  specimens  are 
known,  there  is  documentary  evidence  that  artificial  china  was  made  in  Venice 
about  1470  : the  first  dated  example  being  a piece  of  the  celebrated  Medici  porcelain 
(plate  1,  fig.  9)  made  at  Florence,  and  dated  1581.  Nearly  a hundred  years  afterwards 
— in  1673 — a patent  was  granted  to  Louis  Poterat,  a faience  manufacturer  of  Rouen, 
for  the  production  of  porcelain.  Some  pieces,  undoubtedly  of  his  manufacture,  are  in 
existence,  but  he  does  not  appear  to  have  followed  up  his  first  success  (plate  1,  fig 
6).  Possibly  the  production  was  attended  by  too  great  a loss,  or  his  faience  business 
demanded  all  the  attention  he  could  bestow  upon  it.  Be  this  as  it  may,  the  first  fac- 
tory devoted  to  its  production  was  the  one  established  at  St.  Cloud,  in  1675  (plate 
1,  and  plate  4,  fig.  36).  The  porcelain  produced  there  was  “of  a fine  milky  white 
color,  of  a soft  and  warm  appearance,  very  transparent  and 
very  tastefully  and  carefully  decorated  with  lambrequins , or 
arabesques  in  the  pure  French  style,  or  with  subjects  in 
colors  imitated  from  old  Chinese  and  Japanese  patterns.” 
The  factory  was  burned  down  in  1773,  and  was  not  recon- 
structed. 

The  Chantilly  Works  were  founded  in  1725,  under  the 
patronage  of  the  Prince  de  Conde,  and  evinced  a great 
improvement  over  St.  Cloud  in  the  character  of  the  decora- 
tions, on  account  of  the  greater  simplicity  of  its  products, 
principally  copies  of  Imari  ware.  Corean  decorations,  of 
which  the  prince  had  a fine  collection,  were  also  copied. 
Like  the  Medici  china,  elsew’here  described,  the  Chantilly 
ware  was  covered  with  a thin  tin  glaze,  which  was  produc- 
tive of  very  harmonious  and  delicate  tones  in  the  decora- 
tion. After  the  death  of  its  founder,  the  character  of  the 
work  deterioated  (plate  1). 

In  the  meantime  at  Vincennes,  two  brothers  named 
Dubois,  formerly  employed  at  St.  Cloud  and  Chantilly,  in 
conjunction  with  the  Marquis  Orry  de  Fulvy,  commenced 
in  1740  to  manufacture  there ; but  after  several  years  of  long 
and  costly  experiments  whose  failure  was  due  to  their  want 
of  skill,  the  brothers  left  and  were  succeeded  by  their  assist- 
ant, Gravant.  By  careful  management  and  application, 
matters  had  progressed  so  favorably  that  in  1745  they  were  able  to  show  results  of 
such  merit  as  to  determine  the  ultimate  success  of  the  works  (plate  1).  A royal 


3*“  Clou d 


FRANCE  PORCELAIN. 


65 


subsidy  was  granted,  the  king,  the  dauphin  and  the  Marquise  de  Pompadour,  took 
a great  interest  in  the  factory,  and  porcelain  became  quite  fashionable.  Stringent 
laws  were  passed  to  protect  the  industry  and  preserve  the  secret  of  the  composition 
of  the  body,  though,  as  far  as  the  latter  is  concerned  they  were  unavailing.  As  has 
been  stated  before,  hard  porcelain  is  composed  of  Kaolin  and  pe-tun-tse  ; whilst  the 
composition  of  the  Vincennes  china  consisted  of  Fontainbleau  sand,  saltpetre,  soda, 
alum  and  gypsum,  or  parings  of  alabasler.  This  was  fired  for  fifty  hours  and  formed 
a frit,  or  vitrified  paste.  After  grinding,  it  was  mixed  with  a coarse  clay  in  the  pro- 
portion of  nine  to  three,  and  the  paste  thus  obtained  was  kneaded  by  machine  and 
made  plastic  with  soap  and  boiling  water.  This  was  then  fired,  and  was  ready  for 
the  application  of  the  glaze,  composed  of  Fontainbleau  sand,  litharge,  salts  of  soda, 
Bougival  silex  and  potash,  melted  in  a crucible  and  pulverized.  To  make  it  adhere 
to  the  body,  vinegar  was  added.  After  firing,  the  ware  was  ready  to  receive  the 
decoration.  Pate  tendre  11  is  so  composed  in  body  and  glaze  that  it  alone  of  all  ceramic 
wares  can  perfectly  assimilate  itself  with  colors,  in  such  a manner  as  to  present  to 
the  eye  the  appearance  of  one  surface.  In  the  case  of  French  porcelain  or  English 
faience  it  is  always  possible  to  separate  the  colors  from  the  body.  In  the  case  of 
pate  tendre,  on  the  other  hand,  no  such  distinction  can  be  drawn.  It  is  impossible  to 
separate  the  one  from  the  other.”  It  is  this  feature  that  renders  it  possible  to  dis- 
tinguish it  from  English  china,  which  it  greatly  resembles  in  transparency  and  color. 
The  appellation  of  pate  tendre  was  only  applied  to  artificial  porcelain  in  the  early 
part  of  this  century,  until  then  it  was  known  as  French  or  Sevres  porcelain.  It  is  a 
misnomer  however,  as  the  body  is  much  harder  than  the  glaze. 

In  1753,  upon  the  death  of  the  Marquis  de  Fulvy,  the  king  took  one-third  of 
the  shares  and  officially  gave  the  works  his  patronage,  authorizing  it  to  assume  the 
title  of  the  Royal  Manufactory,  with  instructions  to  mark  all  pieces  produced  with  his 
monogram.  The  business  increased  to  such  an  extent  that  the  premises  at  Vin- 
cennes were  no  longer  adequate  to  its  requirements,  and,  accordingly  in  1756,  the 
plant  was  transferred  to 

V 

Sevres. 

Up  to  this  time,  in  addition  to  the  flowers  modeled  in  relief,  for  which  the  man- 
ufactory was  so  celebrated,  vases  with  bleu  de  roi  and  rose  Pompadour  grounds  (some- 
times erroneously  called  Pose  du  Barry) ; a large  variety  of  fancy  articles,  and  table 
services  decorated  with  exquisite  minute  paintings ; and  groups  and  figures  skill- 
fully executed  from  designs  by  Boucher  and  Vanloo  were  produced.  Greater 
manufacturing  successes  followed,  but  disagreements  ensued  among  the  promoters 
and  it  was  dissolved  in  1759,  the  King  becoming  sole  proprietor.  Boileau  was 
maintained  in  his  position  as  director.  The  manufactory  having  been  established  to 
nullify  foreign  competition,  eagerly  accepted  the  offer  of  two  German  workmen, 
Busch  and  Stadelmeyer,  to  disclose  the  secret  of  the  Meissen  china.  But  as  their 
process  depended  on  the  employment  of  materials  not  found  in  France  and  which 
would  have  to  be  imported  at  great  expense,  their  services  were  dispensed  with. 
Macquar,  a chemist  of  the  establishment,  was  strongly  of  opinion  that  Kaolin 
existed  in  France,  and  it  was  eventually  discovered  at  St.  Yriex,  near  Limoges,  by 
Madame  Darnet,  the  wife  of  a poor  country  surgeon.  Unfortunately  Boileau  did 


66 


ROUGH  NOTES  ON  POTTERY. 


not  live  to  reap  the  benefit  of  this  discovery,  as  he  died  in  1773.  He  left  300,000 
livres  in  the  coffers  of  the  works  and  other  assets  for  a similar  amount.  This  large 
sum  was  entirely  squandered  by  his  successor,  Parent,  in  less  than  six  years,  his 
brief  but  expensive  directorship  ending  in  a prison,  to  which  he  was  sent  for  reckless 
mismanagement.  Pegnier,  the  sub-director,  succeeded  him  and  the  manufacture  of 
important  works  in  pate  dure  was  carried  on  so  successfully  that  in  1789  Sevres 
stood  without  a rival.  About  this  time  jeweled  porcelain  was  first  made.  Political 
events  and  private  competition,  which  robbed  Sevres  of  its  best  workmen  ; the  great 
revolution  and  overthrow  of  monarchy  brought  troublous  times  to  Sevres,  and  it  was 

not  until  1808  that  the  resulting  arrears  were 
definitely  settled.  Under  the  Directory  the  ad- 
ministration was  vested  in  Salmon,  Hettlinger 
and  Mayer,  who  were  succeeded  in  1800  by  the 
illustrious  Alexandre  Brongniart,  whose  name 
will  for  ever  be  associated  with  Sevres.  Under 
his  management  it  was  not  only  a royal  manufac- 
tory, but  it  became  a public  benefaction,  realizing 
more  than  ever  its  mission  as  setting  an  example 
and  encouraging  private  enterprises,  without  com- 
peting with  them.  During  this  period,  by  the 
decree  of  1753,  all  pieces  had  been  marked  with 
the  cross  L’s,  with  the  addition  of  a letter  : A for 
1753;  B for  1754,  &c. ; Z for  1776,  when  double 
letters  were  commenced  and  continued  until  R. 
P.  1793.  The  mark  was  then  changed  to  Sevres 
with  the  initials  P.  F.  below,  which  was  aban- 
doned in  1800  and  the  word  Sevres  alone  remained. 
In  1801  the  use  of  letters  was  resume!  as  follows  : 


T9 

1801 

-II- 

1805 

9 

1809 

tz 

1813 

ds 

1817 

X 

1302 

/N 

1806 

10 

1810 

qz 

1814 

11 

1803 

7 

1807 

oz 

1811 

qn 

1815 

1804 

8 

1808 

dz 

1812 

sz 

1816 

and  a printed  mark — from  1804  to  1809 — added,  (manufacture  M Imple 

imperial  e de  Sevres,  1806).  In  1810  the  Imperial  eagle  was  used  de  Sevres 

and  then  followed  the  marks  given  on  plate  1.  ^ 

These  marks  were  all  kiln  marks,  but  in  1848  an  underglaze  mark  was  adopted 
bearing  the  monogram  L.  P.,  but  it  was  soon  replaced  with  an  oval  with  the  letter 
S and  date  of  manufacture.  This  mark  was  suppressed  in  1878,  but  resumed  in 
1879.  When  cut  through  it  indicates  that  the  piece  was  not  decorated  at  Sev- 
res. M.  Brongniart  decided  that  no  more  pate  tendre  should  be  made  at  Sevres,  and 
in  1804,  sold  all  the  undecorated  white  ware  at  very  low  prices  to  Paris  decorators 
and  others,  who  were  not  slow  to  avail  themselves  of  the  advantage  offered  them. 
If  this  was  on  his  part  an  error  of  j udgment  he  amply  atoned  for  it  by  the  reforms 
he  instituted  and  carried  out,  setting  the  example  himself  by  accepting  3,000  francs 
instead  of  6,000  ; the  amount  fixed  for  his  salary.  He  secured  the  gratuitous  ser- 
vices of  many  eminent  artists  to  furnish  designs,  and  by  1804  had  made  the  factory 
self-supporting,  when  it  became  the  entire  property  of  the  Emperor.  In  1832 


V 

SEVRES 


he  organized  the  unique  Museum  at  Sevres,  to- 
day a lasting  monument  to  his  memory.  Under  his 
management  vases  nearly  eight  feet  high  were  made 
on  which  were  painted  copies  of  the  most  celebrated 
works  of  the  day,  to  perpetuate  the  chief  events  in 
the  life  of  Napoleon  I;  large  busts  of  the  Emperor  and 
of  the  two  Empresses ; elaborate  table  services  with 
borders  of  war  trophies ; statues  of  fame  and  Egyp- 
tian monuments,  all  told  of  the  Emperor’s  victories. 
The  taste  of  such  productions  may  be  open  to  criti- 
cism but  their  execution  is  beyond  dispute.  Brong- 
niart  died  in  1847,  the  crowning  glory  of  his  life  be- 
ing the  writing  of  his  Traite  des  Arts  Ceramiques , in 
which  all  the  Sevres  processes  are  minutely  described. 
The  Royal  factory  undoubtedly  exercised  a very  great 
iufluence  and  it  is  not  too  much  to  say  that  every 
progress  made  for  the  last  hundred  years  in  French 
Ceramic  art  is  almost  entirely  due  to  Sevres.  Let  us 
cite  a case  : The  failing  fortunes  of  the  earthenware 
factories  were  brought  to  Brongniart’s  notice  and  he 
immediately  placed  the  whole  resources  of  the  factory 
at  the  disposal  of  M.  de  St.  Amans,  in  his  endeavor  to 
save  those  interests  from  ruin,  in  which  he  was  hap- 
pily successful.  Brongniart  was  succeeded  by  Ebel- 
men,  who  died  five  years  later,  and  in  turn  Regnault 
was  appointed  director.  On  account  of  family  afflic- 
tions he  resigned  during  the  Franco- Prussian  war 
and  was  succeeded  by  Louis  Robert.  The  Paris 
Exhibitions  of  1874  and  1878  bear  evidence  of  his 


efficiency.  He  died  in  1882,  and  M.  Lauth,  a chemist 
and  member  of  the  Paris  Municipal  Council,  succeeded  him. 

Towards  1850  Louis  Robert  introduced  the  process  of  Pate  sur  pate  painting. 
It  is  difficult  to  exactly  describe  what  this  is.  It  is  not  strictly  speaking  painting, 
nor  yet  is  it  modeling,  but  a blending  of  the  two.  Many  difficulties  presented 
themselves  ; there  were  tremendous  losses  ; but  at  the  London  Exhibition  of  1862 
a very  successful  set  of  cups  were  shown.  Salvetat,  the  distinguished  Sevres 
chemist,  by  his  experiments  did  much  to  reduce  the  difficulties.  The  simplest  form 
is  a decoration  with  white  slips  on  a ground  to  which  coloring  oxide  has  been 
added,  the  modeling  being  produced  by  transparency  according  to  the  thickness  of 
the  slip  or  paste.  M.  Solon  exhibited  some  successful  pieces  at  the  Paris  Exhibi- 
tion in  1867,  but  after  the  war  he  went  to  England,  and  from  the  Minton 
factory  issues  the  most  graceful  and  poetic  fancies  created  by  his  pure  and 
lofty  genius. 


68 


ROUGH  NOTES  ON  POTTERY. 


French  China.  (Continued.) 


Mennecy.  Under  the  patronage  of  the  Duke  de  Villeroy,  in  1735,  this  factory 
was  founded  by  Francis  Barbin.  The  styles  of  decoration  were  very  varied,  ranging 
from  the  simple  designs  of  Chantilly  to  the  more  ornate  decorations  of  Sevres. 
(Plate  4,  Fig.  26.) 

Orleans.  In  the  same  year  Gerault  established  a factory  at  Orleans.  Flower 
paintings  and  biscuit  figures  were  produced.  (Plate  4,  Fig.  29.) 

Paris.  At  La  Courtille , (see  Pouyat,)  Jean  Baptiste  Locre  produced  fine 
hard  porcelain,  very  translucent  and  the  glaze  soft  and  even.  The  factory  was 
established  in  1773.  (Plate  4,  fig.  30). 

At  Clignancourt , in  1775,  Pierre  Deruelle  produced  soft  porcelain,  under  the 
patronage  of  the  brother  of  the  King  (Count  de  Provence)  (plate  4,  figs.  32,  33). 
The  factory  in  the  Rue  de  Bondy,  founded  in  1780,  was  under  the  patronage  of  the 
Duke  d’Angoulem^  and  produced  vases  of  great  beauty  (plate  4,  fig.  34),  while 
that  of  Pont  aux  Choux,  founded  in  1784,  two  years  later  came  under  the  patron- 
age of  the  Duke  of  Orleans.  (Plate  4,  Fig.  35.) 

Limoges.  Considering  the  importance  of  Limoges  as  a large  china-producing 
centre,  it  scarcely  seems  to  have  received  the  attention  it  deserved  by  writers  on 
ceramics.  The  earliest  factory  of  which  we  have  any  information  was  founded  by 
Sieur  Massier,  in  1737  as  a faience  manufactory.  A large  dish  in  the  Sevres 
Museum  painted  in  green  with  a stag-hunting  subject,  is  marked  “ Limoges,  1741,” 
and  there  is  a dish  with  the  same  mark  in  the  Limoges  Museum.  Soon  after  the 
discovery  of  kaolin  at  St.  Yrieix  the  factory  was  converted  into  a china  manufac- 
tory. This  was  in  1773.  In  1784  it  was  absorbed  by  Sevres,  Gabriel  Grellet  acting 
as  director.  He  was  succeeded  by  Francis  Alluaud  but  the  arrangement  did  not 
work  altogether  satisfactorily,  and  in  1793,  Sevres  relinquished  the  control  and  it 
again  passed  into  private  hands,  the  new  proprietors  being  Joubert  and  Cancate. 
In  1797  Francis  Alluaud  started  the  Casseaux  works  and  he  had  also  control  of  one 
of  the  kaolin  mines.  In  1858,  Charles  Field  Haviland,  an  American,  married  a grand- 
daughter of  the  original  proprietor,  thus  uniting  the  old  and  new  regime , and  ten 
years  later  he  succeeded  Mr.  Victor  Alluaud  in  the  direction  of  the  factory.  M. 
Alluaud  the  founder  was  mayor  of  Limoges  in  1792,  and  author  of  several  import- 
ant books.  History  also  names  him  among  the  members  of  Tiers  etat,  giving  him 
title  of  “ Director  of  the  Royal  Porcelain  Factory  at  Limoges.’7  This  refers  to  the 
time  when  Sevres  controlled  the  Massier  factory.  Ilis  son,  Francois,  was  also 
mayor  of  Limoges  in  1833.  He  received  the  cross  of  the  Legion  of  Honor,  with 
the  title  of  Chevalier  in  1832,  and  was  decorated  with  the  u Rosette  Pofficier  ” in 
1858  on  the  occasion  of  the  visit  of  Prince  Napoleon  to  his  factory. 

The  Baignol  factory  seems  to  have  been  the  principal  one  in  Limoges  during 
the  first  Empire.  In  1844  Brongniart,  the  celebrated  Sevres  director,  wrote  that  the 
china  produced  in  Limousin  formed  more  than  three-quarters  of  the  entire  French 
production. 


FRENCH  CHINA. 


69 


J.  Pouyat, 

THE  Pouyat  family  have  long  been  identified  with  the  city  of  Limoges, 
and  its  citizens  have  freely  conferred  on  them  the  highest  honors  within 
their  gift.  Pierre  Pouyat,  who  was  consul  in  1743,  established  in  1760  a 
faience  manufactory  at  St.  Yrieix,  and  specimens  are  still  occasionally  met  with  in 
the  Departement  Haute-Vienne,  marked  with  a capital  P.  This  factory  was  in  full 
operation  at  the  time  of  the  discovery  of  kaolin  at  St.  Yrieix,  and  Pouyat  at  once 
recognizing  the  value  of  the  discovery  bought  a bed  of  the  finest  quality.  Paris 
was  then  the  best  market  for  china,  and  there  were  established  there  four  or  five 
factories,  the  principal  one  of  which,  La  Courtille,  near  Fontaine  au  Roi,  Mr.  Pou- 
yat purchased.  Hard  porcelain  was  already  produced  here  but  under  German  influ- 
ence and  dominated  by  German  taste.  To  change  the  whole  style  of  production  of 
a factory  with  an  already  well-established  reputation  (it  was  founded  in  1773  by  J. 
B.  Locre)  required  some  courage,  but  Mr.  Pouyat  did  not  shrink  from  the  task,  his 
object  being  to  found  a distinctively  French  industry.  Success  seems  to  have  come 
quickly  and  to  Mr.  Pouyat  must  be  ascribed  the  credit  of  having  made  in  body  and 
composition,  from  native  material,  the  first  French  hard  porcelain.  Specimens  of  the 
old  pink  and  blue  “Barbeau”  pattern  of  La  Courtille  are  eagerly  sought  for  and 
are  known  as  “ Old  Pouyat.” 

At  La  Courtille  they  were  the  first  to 
employ  grand  feu  colors,  not  only  blue, 
but  also  a brown  known  as  ecaille  and  a 
violet.  The  coulage  or  casting  process  was 
known  and  practiced  as  early  as  1791, 
while  it  was  not  adopted  at  Sevres  until 
1814.  For  his  services  to  French  Ceramic 
Art  Mr.  Francois  Pouyat  received  in  1830 
the  cross  of  the  Legion  of  Honor.  He 
died  in  1838,  aged  86  years.  His  son,  J. 
Pouyat,  who  had  been  his  partner  and 
active  collaberature,  succeeded  him.  He 
founded  in  Limoges,  in  1842,  a factory 
which  soon  assumed  considerable  import- 
ance, gathering  around  him  the  best 
workers  then  to  be  found,  and  aiming  at 
and  effecting  a high  standard  of  excellence 
in  the  goods  manufactured.  He  was  suc- 
ceeded by  his  sons,  Emile,  Louis  and 
Eugene.  To  such  extensions  had  the  business  grown  that  it  became  necessary  to 
build  a new  factory  to  keep  pace  with  the  demand  and  this  was  accordingly  done 
in  1849  when  the  St.  Leonard’s  Works  were  erected.  The  Pouyat  china  is  remark- 
able for  its  fine  texture,  and  such  confidence  had  the  firm  in  its  excellence  that  at  the 
Paris  Exhibition  of  1855  and  the  London  Exhibition  of  1862,  they  had  the  courage 
to  make  a specialty  of  their  white  ware  without  calling  in  the  decorator’s  aid,  con- 
tent in  the  assurance  that  it  would  best  indicate  that  for  which  they  had  always 
striven,  viz  : purity  of  body  and  glaze  and  artistic  excellence  in  design.  Nor  was  this 


70 


ROUGH  NOTES  ON  POTTERY. 


confidence  misplaced,  as  in  each  case  the  highest  possible  award  was  bestowed  upon 
them.  Especial  attention  was  attracted  by  the  thinness  and  lightness  of  the  cups, 
which  won  them  the  name  of  Tasses  mousseline  and  which  has  since  become  a generic 
term  to  denote  extremely  thin  cups.  It  was  for  these  same  qualities  that  the  first 
prize  was  awarded  to  them  at  the  Paris  Exhibition  of  1878,  and  Mr.  Dubreuil,  son- 
in-law  of  Mr.  Louis  Pouyat  and  manager  of  the  factory,  was  created  a Chevalier  of 
the  Legion  of  Honor. 

In  1890,  Mr.  Emile  Pouyat,  who  in  spite  of  his  great  age  had  always  participated 
in  the  active  conduct  of  the  works,  entrusted  the  management  to  his  grandson, 
Baron  de  la  Bastide,  and  Mr.  G.  Dubreuil,  grandson  of  Mr.  Louis  Pouyat. 
While  paying  special  attention  to  their  white  ware,  so  distinguished  for  its  thinness 
and  translucency,  many  beautiful  decorations  come  to  us  from  the  Pouyat  factory. 
One  of  the  Pouyat  specialties  is  the  excellence  of  their  underglaze  ( fraud  fen ) Sev- 
res blue,  which  the  chemist  from  the  Sevres  factory  attributes  to  the  quality  of  the 
clay  which  is  peculiarly  adapted  to  the  assimilation  of  cobalt.  Mr.  Charles  Laurent 
is  the  manager  of  the  painting  department  and  his  facile  pencil  enriches  many  of 
the  ornamental  pieces  with  finely  conceived  and  delicately  executed  flowers  and 
figure  subjects.  Mr.  Bey  lac,  a skilful  modeler,  is  responsible  for  many  of  the  really 
very  fine  shapes  produced. 

Our  illustration  is  of  a white  china  centre  piece  representing  the  four  seasons, 
presented  by  the  firm  to  the  New  York  Metropolitan  Museum  of  Art.  The  base  is 
40  by  36  inches,  and  the  height  36  inches.  It  is  a good  example  of  the  Pouyat 
china  and  an  excellent  specimen  of  modeling.  Only  four  of  these  were  made. 
One  is  in  the  Sevres  Museum,  another  in  the  one  at  Limoges  and  the  third  one 
is  retained  at  the  factory. 

The  firm  upheld  their  reputation  at  Chicago  by  carrying  off  the  highest  award 
in  the  power  of  the  jury  to  bestow.  (Plate  2,  fig.  7.) 


HaviSand  & Co. 


THE  sight  of  a piece  of  enameled  faience  altered  the  whole  course  of  the  life 
of  Palissy  ; the  importation  of  a French  china  tea  set  to  America  revolu- 
tionized the  trade  of  Limoges.  The  introduction  of  the  manufacture  of 
porcelain  in  Europe  owes  its  inception  to  the  weight  of  a wig.  And  of  such  trifles 
is  history  made.  When  in  1839  Mr.  D.  Haviland,  who  was  an  importer  of  English 
earthenware  in  New  York,  saw  the  tea  service  referred  to,  it  appeared  to  him  so 
superior  to  the  wares  he  was  importing  that  he  decided  to  introduce  it  here.  There 
was  no  mark  to  guide  him,  nor  could  he  obtain  any  information  about  it,  but  he  was 
not  easily  to  be  discouraged,  and  with  the  sole  knowledge  that  it  was  made  in 
France,  he  started  out  to  solve  the  problem.  Eventually  his  enquiries  led  him  to 
Limoges,  and  though  the  search  was  ended,  his  work  had  but  begun.  The  shapes 
and  decorations  were  limited  and  unsuitable  for  this  market.  Accordingly  he  set 
to  work  and  furnished  to  the  factories  there,  patterns  of  plain  services,  then  only 
made  in  England,  and  while  they  were  executing  his  commissions  for  white  ware 


FRENCH  CHINA. 


71 


he  organized  large  decorating  shops,  employed  pupils  and  skilled  professors,  and  in 
this  modest  manner  started  a business  destined  to  grow  not  only  to  colossal  pro- 
portions, but  to  represent  a standard  of  excellence  synonomous  with  all  that  is 
best  and  truest  in  ceramic  art.  This  radical  departure  caused  something  very  near 
approaching  a riot  in  Limoges,  and  for  a time  pupils  and  professors  could  only  go 
about  in  bands,  in  order  to  protect  themselves  from  assault.  In  1840  Haviland  & 
Co.,  initiated  the  exportation  of  French  china,  and  though  the  first  four  years  only 
averaged  about  $100,000  per  annum,  in  1880  the  average  amount  had  increased  to 
$1,400,000. 

When  Mr.  Haviland  from  decorating  only,  turned  to  manufacturing,  it  was  with 
facilities  largely  in  advance  of  anything  then  existing  at  Limoges.  Plates  are  now 
made  entirely  by  machinery,  enabling  them  to  turn  out  about  11,000  per  day.  And 
while  other  labor-saving  devices  were  adopted,  that  the  artistic  element  was  not 
neglected  is  evidenced  from  the  fact  that  as  early  as  1885  two  hundred  decorators 
found  employment  there. 

In  1873,  at  Bourg-la-Peine,  Messrs.  Chaplet,  Laurin  and  Lafond  discovered  a 
new  process  of  decorating  earthenware,  and  Haviland,  quick  to  perceive  its  value, 
secured  the  services  of  M.  M.  Chaplet  and  Lafond.  The  process,  very  briefly,  con- 
sists of  decorating  the  wet  clay  before  it  has  been  fired,  somewhat  after  the  man- 
ner employed  on  early  Italian  pottery,  but  yielding  results  much  superior  in  detail 
and  softness.  Miss  Young  in  “ The  Ceramic  Art,”  describes  at  length  all  the  most 
important  works  produced  from  the  Haviland  studios,  and  to  her  interesting  work 
the  reader  is  referred.  (Plate  2,  fig.  6). 

E.  Gerard,  Dufralsselx  & Co. 

(Charles  Field  Haviland.) 


WE  have  seen  in  our  brief  sketch  of  Limoges  something  of  the  history  of  the 
old  Alluaud  factory,  and  it  is  therefore  needless  to  recapitulate  it  here. 
Mr.  Charles  Field  Haviland  went  to  Limoges  in  1851,  and  in  1859, 
commenced  to  decorate  china.  Consequent  upon  his  success,  in  1861 
he  enlarged  his  sphere  of  action  and  began  its  manufacture,  catering  principally  for 
the  American  market.  In  1868  he  assumed  the  entire  control  and  direction  of  the 
Alluaud  factory,  continuing  its  management  until  1881, 
when  he  relinquished  the  active  control.  He  remained  a 
special  partner  until  his  death,  which  took  place  June  12, 
1896.  He  was  succeeded  by  E.  Gerard,  Dufraisseix  & 
Morel.  M.  Gerard  had  long  been  identified  with  the  china 
industry  at  Limoges,  and,  under  his  management,  the 
growth  of  the  firm  has  been  most  gratifying.  The  large 
factory  soon  became  inadequate  to  meet  the  demands  for 
its  productions,  and,  during  1892,  it  was  entirely  remod- 
eled and  large  additions  made,  so  that  its  productive  capa- 
city is  now  nearly  fifty  per  cent,  greater  than  formerly. 
This  phenomenal  growth  may  be  accounted  for  by  improve- 
ments in  the  body  ; the  production  of  artistic  designs  in  both 


72 


ROUGH  NOTES  ON  POTTERY. 


shapes  and  decorations  ; the  employment  of  the  most  modern  machinery,  and  the 
best  available  talent,  and  to  the  general  esprit  du  corps  which  M.  Gerard  infused 
throughout  the  whole  of  the  manufactory  by  his  appreciation  of  the  importance  of 
small  things,  his  unfailing  energy  and  consummate  skill. 

Their  exhibit  at  the 
World’s  Fair  was  an  evidence 
of  the  progress  made  by  this 
house,  including  as  it  did 
many  examples  of  feu  de  four 
which  necessitate  the  employ- 
ment of  colors  requiring  the 
same  degree  of  heat  as  the 
body  itself,  by  which  means 
the  closest  possible  affinity  is 
secured.  Hitherto  such  results 
had  been  but  imperfectly  real- 
ized ; the  colors  had  been 
sombre  in  tone,  and  the  pro- 
cess an  expensive  one.  We  may  therefore  feel  justified  in  regarding  the  employ- 
ment of  bright  colors  which  Messrs.  Gerard,  Dufraisseix  & Co.  have  successfully 
produced,  suitable  for  the  decoration  of  tableware,  which  necessarily  demand  such, 
as  a distinct  advance  in  ceramics.  The  result  is  a beautiful  softness,  the  colors 
so  assimilated  with  the  glaze  as  to 
render  it  almost  impossible  to  separ- 
ate them.  It  is  this  affinity  of  color, 
body  and  glaze  that  constitutes  the 
charm  of  Sevres’  Pate  tendre. 

The  C.  F.  H.  china  is  so  well 
known  as  to  render  criticism  super- 
fluous. The  best  efforts  of  the  firm  are 
devoted  to  articles  of  utility,  which 
they  are  constantly  laboring  to  im- 
prove, not  only  in  the  decoration,  but 
in  gracefulness  of  shapes.  To-day,  the 
oldAlluaudfactory,  its  conservatism  but 
a tradition  of  the  past,  is  one  of  the  best 
equipped  and  most  progressive  in  the 
world.  The  trade  marks  and  dates  at 
which  used  are  : 


Prior  to  1868. 

1868  to  1872 
1872  to  1882 

1882  to  1891, 


stamped  in  the  clay. 

.C.  F.  H.  “ “ 

. “ “ printed  underglaze  in  green. 

CJF.  H.  f<  „ „ 

*G.  D.  M- 


The  word  “France”  was  added  in  1891 


The  decoration  stamp  has  always  been  “Ch.  Field  Haviland,  Limoges,”  in  a circle. 
(Plate  2,  fig.  1). 


FRENCH  CHINA. 


73 


Other  Limoges  Firms. 

Theodore  Haviland.  Much  of  the  success  that  attended  the  firm  of  Haviland 
& Co.  was  due  to  the  active  share  taken  in  its  management  by  Mr.  Theo.  Haviland. 
January  1,  1892,  the  partnership  was  dissolved,  Mr.  Theodore  retiring  from  the  old 
firm,  which  was  reorganized  as  a stock  company.  Another  stock  company,  with 
Mr.  Theodore  at  its  head,  was  formed,  and  they  erected  an  entirely  new  factory  with 
all  the  most  modern  improvements,  organized  an  efficient  staff,  and  were  quickly  in 
the  field  with  an  extensive  assortment  of  shapes  and  decorations.  The  success  of 
the  enterprise  is  now  assured,  a condition  that  could  hardly  fail  to  result  from  the 
quality  and  character  of  the  goods  produced.  (Plate  2,  fig.  11). 

The  house  of  Delinieres  has  been  established  about  fifty  years,  but  prior  to 
1881  they  only  made  white  china.  In  this  year  they  added  a decorating  depart- 
ment, giving  especial  attention  to  ornamental  goods  of  which  they  make  a large 
variety.  They  have  been  very  successful  in  their  treatment  of  blue  underglaze, 
their  artists  producing  some  very  effective  and  harmonious  results.  Mr.  Delinieres, 
the  founder  of  the  factory,  has  been  decorated  with  the  cross  of  the  Legion  of 
Honor,  and  is  also  one  of  the  directors  of  the  Sevres  factory.  Up  to  1893  the  mark 
plate  2,  fig.  2,  was;used,  figure  3 being  the  present  mark  for  white  ware  and  the 
name  “ R.  Delinieres  & Cie.,  Limoges,”  in  small  script  in  red,  when  a decoration 
is  added. 

Mr.  J.  F.  H.  Vogt,  in  1852,  founded  a manufactory  of  china  and  this  gave 
place  in  1882  to  the  new  firm  of  Tressemanes  & Vogt . They  make  a general  line 
of  useful  goods  and  the  bell  trade  mark  is  favorably  known,  whilst  the  initials  T.  & 
V.,  have  long  been  accepted  as  a guarantee  of  the  quality  of  the  body.  Rapid  devel- 
opments have  been  made  in  decorations  within  the  last  few  years.  (Plate  2,  fig.  50.) 

Mr.  A.  Lanternier , who  spent  a considerable  time  perfecting  himself  in  English 
and  in  learning  the  pottery  business  with  Messrs.  Wedgwoods,  of  Etruria,  com- 
menced manufacturing  at  Limoges  in  1885.  His  father  had  formerly  been  engaged 
in  the  decorating  business  there.  Perhaps  the  youngest  of  the  Limoges  manufac- 
turers, Mr.  Lanternier  has  succeeded  in  placing  himself  amongst  the  foremost  in  the 
race,  his  shapes  being  particularly  pleasing,  whilst  his  white  ware  is  undoubtedly  of 
very  superior  quality.  (Plate  3,  fig.  36). 

The  house  of  L.  Sazarat  Co.,  is  an  old  established  one,  which  until  a few  years 
ago  was  scarcely  known  in  this  country,  but  by  adapting  themselves  to  our  particu- 
lar requirements  they  are  now  coming  to  the  front.  Their  decorations  are  particularly 
soft  and  harmonious.  M.  Sazarat  has  been  decorated  with  the  Cross  of  the  Legion 
of  Honor  and  at  all  the  French  exhibitions  since  1855,  has  been  awarded  a medal. 
(Plate  2,  fig.  8). 


74 


ROUGH  NOTES  ON  POTTERY. 


Italian  Majolica. 


FROM  the  remote  period  when  the  Egyptian 
and  other  Eastern  nations  used  a stannif- 
erous glaze  to  hide  the  coarseness  of  the 
ware  it  covered,  all  trace  of  it  appears  lost 
until  1235,  A.  D.,  when  the  Moors  founded 
the  Kingdom  of  Granada.  Granada  and 
Malaga  were  the  seats  of  the  manufacture 
of  the  Hispano-Moresque  pottery,  and  it  is 
probable  that  the  celebrated  Alhambra 
Yase  was  made  there.  It  was  found  in  the 
16th  Century  under  the  pavement  of  the 
Alhambra,  which  was  built  in  1248.  This 
vase  is  decorated  in  blue  and  gold  lustre 
with  arabesques  and  panels  on  which  two 
antelopes  are  figured,  on  a whitish,  flesh- 
colored  body.  It  was  copied  at  Sevres,  in 
1842,  and  later  by  Deck,  of  Paris,  the  lat- 
ter copy  being  now  in  the  South  Kensington 
Museum.  There  are  continuous  examples  of  this  ware  down  to  the  Conquest  of  the 
Moors  by  Ferdinand  and  Isabella  in  1492,  when  the  style  became  more  purely 
Spanish  and  soon  afterwards  began  to  decline. 

The  estimate  placed  on  this  Hispano-Moresque  pottery  seems  above  its  merit 
and  even  its  lustre  for  which  it  is  chiefly  remarkable,  was  excelled  by  Giorgio. 
Popular  tradition  ascribes  the  introduction  of  majolica  into  Italy  as  follows : — 

“ The  men  of  Pisa  once  upon  a time  undertook  to  clear  the  Tyrhene  Sea  from  all 
Mussulman  corsairs.  There  was  at  that  time  an  infidel  king,  Nazaredeck  by  name, 
who  busied  himself  cruelly  about  the  coasts  of  France  and  Italy.  Twenty  thousand 
Christians  were  said  to  be  imprisonedinhis  dungeons.  In  the  year  1113  the  Archbishop 
of  Pisa  preached  a crusade  against  Nazaredeck,  exhorting  the  people  to  open  the 
prisons  of  their  Christian  brethren  and  to  deliver  them  out  of  the  power  of 
the  infidel.  It  was  not  however  until  two  years  later  that  Majorca  was  taken,  the 
king  was  killed,  his  son  made  prisoner  and  carried  with  great  spoil  and  booty  to 
Pisa.  Among  the  spoil  were  many  plates  of  Moorish  pottery,  which  the  Pisans 
stuck  into  their  church  walls  as  trophies  and  ornaments.  For  two  hundred  years 
this  pottery  was  regarded  as  only  a thing  of  beauty  and  to  be  venerated  as  a relig- 
ious symbol,  and  it  was  not  until  the  beginning  of  the  14th  Century  that  the  Ital- 
ians began  to  make  an  imitation  ware  which  they  called  majolica.” 

The  matter  is  one  apparently  of  surmise  only,  and  the  authorities  are  by  no 
means  unanimous.  The  argument  is  advanced  that  Dante  wrote  “ Cipri  e Maiolica,” 
showfing  the  then  mode  of  spelling  the  name  of  the  Island,  but  are  not  the  letters  I 
and  J freely  interchangeable  in  Italian  in  proper  names?  It  is  certain  that  previous 
to  Luca  della  Robbia’s  discovery,  ware  covered  with  a white  slip  and  finished  with 
a metallic  lustre  were  made  at  the  potteries  of  Pesaro  or  Gubbio,  and  these  were 
later  called  Mezza  Majolica  to  distinguish  them  from  the  tin  enameled  and  lustred 


RohOia* 


ITALIAN  MAJOLICA. 


75 


majclica.  Towards  the  middle  of  the  16th  Century  the  word  began  to  be  used  for 
all  glazed  earthenware.  Another  early  form  was  graffito,  in  which  the  ware  is  cov- 
ered with  a white  slip  and  is  then  scratched  through  with  an  iron  tool,  showing  the 
design  on  the  colored  body  beneath. 

But  the  principal  interest  in  Italian  Majolica  centres  in  Luca  della  Robbia  (A. 
D.  1400-1481),  a sculptor  of  eminence  who  wishing  to  protect  his  terra  cotta  fig- 
ures, invented  a tin  glaze,  much  superior  in  quality  to  anything  before  used,  and 
if  he  was  not  the  originator  in  Italy,  it  is  certain  he  made  such  a decided  forward 
movement  as  to  give  him  the  same  position  in  Italy  that  Wedgwood  occupies  in 
England,  Palissy  in  France  and  Bottger  in  Germany.  He  utilized  his  discovery  for 
painting  as  well  as  sculpture,  and  his  earliest  dated  piece  is  1438,  as  it  is  also  the 
earliest  dated  of  any  Italian  tin  enamel  ware.  The  secret  of  its  manufacture  was 
bequeathed  to  his  nephew  Andrea,  who  in  turn  transmitted  it  to  his  four  sons,  but 
the  purity  and  simplicity  of  the  style  of  Luca  was  wanting.  The  secret  leaked  out 
and  workshops  were  established  all  over  Italy,  many  of  which  rose  to  prominence. 
During  the  first  period  the  decoration  wTas  painted  on  the  unjired  enamel,  and  as 
this  absorbed  the  color  very  rapidly,  a broad  and  decorative  treatment  was  neces- 
sary ; but  as  both  the  enamel  and  colors  fused  at  the  same  time,  making  one  har- 
monious whole,  very  rich  and  vigorous  effects  were  produced.  Later  the  painting 
was  applied  on  the  fired  enamel,  and  more  minute  details  were  possible,  the  ground 
itself  furnished  excellent  high  lights,  which  could  be  attained  by  simply  scratching 
away  the  color  and  it  was  possible  to  trace  the  finest  line  and  most  minute  details 
on  its  hard  and  polished  surface.  By  the  early  method  pieces  of  the  greatest  deco- 
rative beauty  were  produced  with  simple  color  effects  in  blue  and  a yellow  metallic 

lustre : generally  figure 
subjects,  often  sur- 
rounded with  borders  of 
medieval  simplicity. 
The  Gubbia  majolicas 
have  a deep  ruby  lustre 
which  was  largely  used 
by  Maestro  Giorgio  of 
Gubbio  (A.  D.  1517-37), 
who  is  further  credited 
with  the  invention  of 
gold  and  silver  lustres. 
So  excellent  were  these 
lustres  that  wares  from 
other  fabriques  were 
sent  there  to  be  lustred 
and  often  bear  Giorgio’s 
mark  in  addition  to  that 
of  the  place  of  manufac- 
ture. How  highly  Gior- 
gio’ s work  was  regarded 
is  evidenced  by  his  be- 
ing created  a “ Maestro,” 


76 


ROUGH  NOTES  ON  POTTERY. 


a title  prized  even  more  than  nobility.  He  was  a sculptor  too  and  some  of  his  altar 
pieces  give  him  a high  rank  amongst  the  modelers  of  his  period  equal  to  that  which 
he  occupies  as  a painter.  The  illustration  is  of  a deep  tazzain  the  South  Kensington 
Museum.  Castel  Durante  had  a manufactory  as  early  as  1284.  In  1500  mezzo, 
majolica , graffito  and  tin  glazed  majolica  were  made.  Plates  and  dishes  with  bor- 
ders and  centres  of  cupids  were  made  about  this  time,  and  this  style  was  later  more 
fully  developed.  Vases  and  pharmacy  jars  decorated  with  trophies  and  grotesques, 
very  sofb  in  coloring,  were  also  made.  All  old  Italian  palaces  had  a pharmacy 
attached  to  them  and  instead  of  glass  jars  used  pottery  ones.  The  ware  was  a pale 
buff  color,  the  glaze  rich  and  pure.  The  manufacture  began  to  decline  in  1631. 

Urbino  is  celebrated  for  the  works  of  the  Fontana  family,  11  chiefs  among  Ital- 
ian ceramic  artists,”  Guido,  Camillo  and  Orazio,  the  latter  the  most  celebrated. 
His  pieces  are  characterized  by  great  softness  of  color,  harmony  and  power  of 
expression.  A beautiful  set  of  vases  made  for  Duke  Guidobaldo  II.,  have  for  sub- 
jects the  four  Evangelists,  the  twelve  Apostles,  incidents  in  the  Old  Testament,  naval 
battles  of  the  Romans,  and  the  metamorphoses  of  Ovid.  On  eighty-five  of  them  are 
portrayed  the  games  of  children,  every  subject  different.  A Grand  Duke  of  Flor- 
ence offered  for  them  a like  number  of  silver  vessels  of  equal  weight,  and  Louis 
XVI.  offered  for  the  four  Evangelists  and  St.  Paul  an  equal  number  of  gold  statues. 
The  Fontanas  flourished  during  the  first  half  of  the  sixteenth  century,  Orazio  dying 
in  1571.  Their  pieces  were  very  seldom  signed. 

Another  celebrated  painter  of  the  Urbino  fabrique  was  Francesco  Xanto,  and 
his  signed  works  date  from  1530  to  1542.  They  were  frequently  enriched  with 
metallic  lustres  by  Giorgio.  Critics  vary  so  much  in  their  estimation  of  his  work, 
which  was  principally  adaptations  from  Raphael,  and  other  artists,  that  I give  one 
or  two  extracts. 

11  Xanto’ s execution,  although  dexterous,  is  monotonous  and  mechanical ; his 
scale  of  coloring  is  crude  and  positive,  full  of  violent  oppositions  ; the  only  merit,  if 
merit  it  be,  being  that  of  a certain  force  and  brightness  of  aspect ; in  every  other 
respect  his  coloring  is  commonplace,  not  to  say  disagreeable  even  ; blue,  crude  opaque 
yellow,  and  orange-tints  and  bright  verdigris-green  are  the  dominant  hues,  and  are 
scattered  over  the  pieces  in  full  unbroken  masses,  the  yellow  especially  meeting  the 
eye  at  the  first  glance.” — Robinson. 

u Among  them  are  examples  of  high  artistic  excellence,  although  many  of  them 
betray  want  of  care  and  hasty  execution.” — C.  Drury  E.  Fortnum , F.  S.  A. 

“ Its  highest  glory  came  with  Francesco  Xanto,  whose  broad  and  generally  true 
drawing  and  masterly  composition  mark  him  as  one  of  the  great  artists  of  the 
Renaissance.” — Miss  Young. 

“ His  work  is  very  variable  in  excellence ; his  drawing  is  somewhat  mechanical 
and  coloring  bright  but  inharmonious  ; a vivid  black  and  green  are  seen  ; his  sub- 
jects for  istoriati  are  adapted  from  groups  in  the  compositions  of  Raphael  and  other 
artists,  but  his  subjects  are  original  and  show  research.” — Beckwith. 

The  production  of  pictured  Majolica  was  carried  on  largely  at  Urbino  up  to  1630, 
and  it  appears  to  have  been  intended  entirely  for  decorative  purposes. 

As  late  as  1773,  a French  artist  named  Rolet  had  a factory  at  Urbino,  but 
beyond  a single  specimen  at  South  Kensington,  nothing  seems  to  be  known  of  him. 


ITALIAN  MAJOLICA. 


77 


Faenza  was  celebrated  for 
the  perfection  of  its  designs, 
and,  as  early  as  1485,  men- 
tion is  made  of  the  distinguish- 
ing whiteness  and  polished 
glaze  of  its  earthenware. 
Caffaggiolo,  under  the  patron- 
age of  the  Medici  (Plate  4,  fig. 
37),  Pesaro  and  nearly  every 
city  in  Italy  at  some  time  pro- 
Taenzi  duced  Majolica,  and  many  fine 

specimens  exist  in  museums  and  private  collections.  (Plate  1,  and  plate  4,  figs.  40,  58). 

Towards  the  end  of  the  sixteenth  century  the  manufacture  began  to  decline, 
and,  although  continued  during  the  seventeenth  and  eighteenth  centuries,  it  is  to 
France  we  must  look  for  something  of  equal  value  to  the  Italian  product  of  the  six- 
teenth century. 

About  1600  a follower  of  the  Duke  of  Gonzaga,  from  Faenza,  carried  the  Italian 
method  to  Nevers,  in  France.  Brongniart  gives  the  following  as  the  composition  of 
the  Nevers  body  and  enamel : 


Body. — White  limy  clay 33 

Yellow  plastic  sandy  clay.  50 
Gray,  friable,  less  sandy 
plastic  clay 16 


Enamel. — Oxide  of  tin. 20 

“ of  lead 80 

Sand  and  some  salt 150 


Placque  by  Passarin. 


78 


ROUGH  NOTES  ON  POTTERY. 


These  old  Italian  wares  have  been  extensively  reproduced  within  the  last  lew 
years,  the  Marquis  Ginori  producing  some  excellent  results.  Salvini  & Co.  and  Jafet 
Torelli  have  been  equally  successful. 

Raffaelle  Passarin,  of  Bassano,  does  not  confine  himself  to  reproductions,  but 
issues  some  excellent  compositions  of  striking  originality,  executed  in  underglaze 
colors. 

We  give  an  illustration  of  a placque  by  this  artist,  through  the  courtesy  of 
Messrs.  Charles  Ahrenfeldt  & Sons.  Much  of  the  detail  has  been  lost,  but  it  will 
serve  to  give  an  idea  of  the  artist’s  conception. 

Ginori. 


The  Marchese  Carlo  Ginori,  established  at  Doccia,  near  Florence,  a manufac- 
tory of  china,  and  two  years  later  sent  out  a ship  to  India  for  the  purpose  of  obtain- 
ing samples  of  materials.  He  died  in  1757,  and  the  already  well-established  works 
were  left  to  his  son  Senator  Lorenzo,  and  the  ownership  has  passed  successively 
through  various  members  of  the  same  family  until  the  present  day.  Successful  imi- 
tations of  all  kinds  of  celebrated  wares  have  always  been  a feature  of  this  factory, 
from  reproductions  of  Luca  della  Robbia  to  copies  of  Sevres  pdtetendre , and  Meissen 
and  Chinese  hard  porcelain,  several  specimens  of  the  latter  having  been  mistaken 
and  sold  for  Oriental  ware.  Some  of  the  moulds  of  the  Capo  di  Monte  factory  came 
into  Ginori’ s hands,  and  he  still  issues  reproductions  from  them.  Lorenzo  Becche- 
roni,  an  artist  of  ability,  is  intrusted  with  the  work,  and  more  nearly  approaches 
the  minute  details  characteristic  of  Capo  di  Monte  than  any  of  his  competitors. 
(Plate  4,  figs.  6 and  22). 

Capo  di  Monte  and  Buen  Retiro. 

(Plate  1,  fig.  8). 

The  Capo  di  Monte  factory,  situated  near  Naples,  was  founded  in  1736  by 
Charles  III.,  who  also  started  the  works  at  Buen  Retiro,  Madrid,  after  his  accession 
to  the  Spanish  throne.  The  soft  china  decorations  at  both  factories  were  numerous, 
the  blue  Oriental  designs  of  Capo  di  Monte  and  the  classical  shapes  of  Buen  Retiro 
being  most  esteemed.  The  former  factory  also  produced  Majolica.  At  Buen  Retiro 
(plate  1,  fig.  19),  blue  and  white  cameos  in  the  Wedgwood  style,  were  made,  and 
the  king  had  a room  in  the  Escurial  decorated  with  them.  Some  moulds  of  cups 
and  saucers  from  the  Capo  di  Monte  factory  passed  into  the  hands  of  the  Marquis 
Ginori,  who  continues  to  produce  them  with  the  original  mark.  These  have 
embossed  and  colored  figures,  the  cups  having  coral  handles. 

Medici. 


This  was  the  first  manufactory  in  Europe  to  produce  porcelain,  and  was  founded 
by  Francesco,  I,  of  the  house  of  Medici.  It  existed  only  from  about  1575  to  1587,  and 
was  situated  at  Florence,  under  the  directorship  of  Bernardo  Buontaienti,  who 
received  great  assistance  from  a Greek  who  had  learned  the  secret  of  porcelain  in 


ITALIAN  MAJOLICA. 


79 


China.  The  decorations  were  mostly  in  cobalt  blue,  and  to  secure  greater  white- 
ness the  body  was  covered  with  a white  enamel,  to  which  a rich  pearly  glaze  was 
added.  There  are  only  about  forty  known  specimens,  consisting  of  plates,  flasks, 
ewers,  vases  and  pilgrim  bottles.  (Plate  1,  fig.  9). 

Rhodian  Ware. 

^ ^ O called  because  it  was  manufactured  by  Oriental  potters  in  the  Island  of 
Rhodes,  is  made  of  rather  coarse  clay,  covered  with  a fine  white  silicious 
^ slip,  on  which  the  decorations  are  painted,  the  whole  being  then  covered 
with  a thick  glaze  formed  of  silica,  oxide  of  lead  and  soda.  Its  chief  characteristic 
is  the  use  of  a fine  red  pigment  which  owes  its  color  to  the  red  oxide  of  iron.  This 
pigment  was  applied  in  very  thick  body;  so  that  it  stands  out  in  actual  relief  like 
drops  of  sealing  wax.  Plates,  tall  bottles,  jars,  mugs  and  pitchers  with  handles 
are  the  usual  forms.  They  are  all  decorated  with  patterns  of  great  beauty  and 
splendor  of  color,  brilliant  blues,  greens  and  the  peculiar  red  being  the  chief.  The 
designs  are  mostly  flowers  and  sprays  springing  from  one  branch,  often  with  black 
scrolls  on  blue  and  white.  Geometrical  patterns  are  also  used  but  mostly  for  wall 
decoration.  The  finest  specimens  of  Rhodian  ware  date  from  the  16th  and  first 
half  of  the  17th  centuries.  * * * * The  town  of  Lindus  where 

ruined  kilns  yet  remain,  was  one  of  the  chief  places  in  Rhodes  for  the  production 
of  this  kind  of  pottery.”  Enc,  Brit. 

Good  reproductions  of  Rhodian  are  made  by  Boch  Freres  of  La  Louviere. 


80 


ROUGH  NOTES  ON  POTTERY. 


Germany  and  Austria, 

Meissen  and  its  School, 


IT  was  probably  the  Portuguese  who  intro- 
duced Chinese  porcelain  into  Europe  in  the 
13th  century,  though  in  very  sparing  quan- 
tities and  even  as  late  as  the  15th  century  it  was 
comparatively  rare.  From  that  time  numerous 
attempts  were  made  to  produce  it  in  Europe, 
with  the  earliest  results  of  which  we  have  dealt 
elsewhere.  But  it  was  reserved  to  Bottger,  a 
young  chemist  of  great  ability,  to  discover — ac- 
cidentally it  is  true — the  secret  of  the  manufac- 
ture of  natural  or  hard  porcelain. 

Joh.  Friedr  Bottger,  or  Bottcher,  was  born 
in  1681,  or  1682,  at  Schleiz,  in  the  territory  of 
Beuss.  His  father  was  the  master  of  the  mint 
at  Magdeberg,  and  Schleiz.  He  was  appren- 
ticed to  an  apothecary  in  Berlin,  but  became  an 
enthusiast  in  the  search  for  the  philosopher’s 
stone.  Incurring  the  displeasure  of  the  authorities  he  was  obliged  to  flee  from  Ber- 
lin. He  found  protection  and  patrons  at  the  court  of  Saxony,  and  received  large 
sums  to  enable  him  to  prosecute  his  studies  in  alchemy.  Disappointment  ensuing, 
as  he  did  not  of  course,  succeed  in  making  gold,  he  was  called  upon  to  reveal  his 
secret  in  writing,  and  handed  in  a manuscript,  expressed  with  the  air  of  one  com- 
pletely master  of  his  subject.  The  King  however,  was  dissatisfied  with  this  pro- 
duction, of  which  he  appreciated  the  worthlessness,  and  readily  consented  to  a 
request  of  the  Count  of  Tschirnhausen,  who  desired  to  avail  himself  of  the  skill 
which  he  believed  Bottger  to  possess,  for  experimenting  in  clays,  with  a view  to  the 
manufacture  of  porcelain.  From  1701  to  1709,  he  worked  for  his  patron,  at  Dres- 
den, always  closely  guarded  and  virtually  a prisoner,  producing  stoneware  of  a supe- 
rior quality  to  that  hitherto  produced.  He  also  made  a ware  like  red  jasper,  so 
hard  that  it  could  be  cut  by  a lapidary’s  wheel.  These  pieces  are  marked  (Plate 
1,  fig.  20).  In  1710  a lucky  circumstance,  of  which  he  was  quick  to  take  advant- 
age, resulted  in  the  discovery  of  a bed  of  true  kaolin.  One  morning  noticing  the 
unusual  weight  of  the  powder  with  which  his  wig  was  dressed,  he  enquired  of  what 
it  was  made  and  finding  it  was  a finely  powdered  clay,  procured  a supply  of  it,  with 
which  he  experimented  and  found  that  he  had  discovered  the  materials  for  a true 
hard  porcelain.  The  deposit  of  this  clay  was  at  Aue  and  it  was  dug  up  and  packed 
in  sealed  bags  and  brought  to  the  castle  at  Meissen,  which  Augustus  II.  caused  to  be 
tilized  as  a factory.  Situated  some  five  miles  from  Dresden  and  more  like  a prison 


GERMANY  AND  AUSTRIA. 


81 


than  a factory  with  its  high  walls  and  portcullis,  where  oaths  of  secrecy  were 
imposed  on  the  workmen,  it  was  the  birthplace  of  the  first  hard  porcelain  made 
in  Europe.  For  nine  years  Bottger  endured  this  life,  and  though  his  success  was 
rewarded  by  large  presents,  which  he  invariably  squandered,  the  confinement 
probably  shortened  his  life  and  he  died  March  13,  1719.  In  the  year  follow, 
ing,  the  secret  was  betrayed  by  a workman  named  Stofzel,  who  fled  to  Vienna, 
where  an  imperial  establishment  was  founded.  Other  workmen  carried  the  secret  to 
other  places,  and  royal  works  were  set  up  in  Berlin  in  1755  ; in  Petersburg  in  1744, 
and  at  Munich  in  1748. 

The  early  productions  of  Meissen  were  copies  of  Oriental  china  ; relief  deco- 
rations of  flowers  and  foliage,  and  a painted  underglaze  decoration  in  dark  blue. 
Bdttger  was  succeeded  by  Hdroldt,  under  whose  management  the  output  of  the 
factory  was  considerably  increased,  both  in  style  and  quanity.  In  1725,  paintings 
of  flowers,  &c.,  in  miniature  gave  place  to  Oriental  designs,  and  soon  after  followed 
the  well  known  Mayflower  decorations,  in  which  the  pieces  were  closely  studded 
with  May  blossoms,  modeled  in  high  relief,  and  then  colored  and  gilded.  This  was 
under  Bruhls’  administration.  Statu- 
ettes by  Kandler,  candelabra  with  raised 
flower  work  and  scrolls  formed  a 
uous  feature  from  1731  to  1756.  After 
1774  more  classical  designs,  purer  in  shape 
and  outline  were  produced.  The  early 
Meissen,  or  as  it  is  usually  termed  Dres- 
den mark,  was  a snake  twined  round  a 
staff,  or  in  cases  where  the  pieces  were 
made  for  the  King,  or  from  his  design,  the 
royal  monogram,  A.  R.,  interlaced.  Since 
1721  two  crossed  swords  have  been  used 
as  a general  mark,  and  the  addition  of  a dot  or  star  marks  special  periods.  The 
letter  B above  the  swords,  or  the  letters  M.  P.  M.  indicate  the  period  of  Briihl’s 
management.  The  crossed  swords  are  the  arms  of  the  Elector  of  Saxony.  (Plate 
4,  fig.  47). 

The  works  are  still  in  operation,  many  reproductions  of  old  shapes  and  pat- 
terns being  made,  but  no  longer  in  the  castle  with  its  drawbridge  and  keep,  more 
suitable  premises  having  been  erected  in  the  Triebischthal,  closer  to  the  town,  to 
which  the  factory  was  transferred  in  1863.  The  present  director  is  F.  M.  O. 
Raithel. 

A Vienna  workman  named  Ringler  started  a factory  at  Hochst  in  1740  (Plate 
4,  fig.  1).  It  was  a state  establishment  from  1752  to  1774  and  was  under  the  direc- 
torship of  Melchoir,  a celebrated  modeler.  It  is  famous  for  its  statuettes  and  cameo 
decorations  in  the  style  of  Wedgwood.  Some  workmen  stole  the  notes  Ringler 
habitually  carried  with  him  and  under  the  patronage  of  Charles,  Duke  of  Bruns- 
wick, established  a manufactory  at  Furstenburg  (Plate  4,  fig.  3).  Some  excellent 
figures  were  made  here.  Ringler  joined  forces  with  Paul  Hannong,  of  Strasburg,  at 
Frankenthal,  about  the  year  1755,  and  it  is  here  that  the  Carl  Theodore  china 
was  made.  In  1761  it  became  a government  establishment  and  was  eventually 
closed  in  1800  (Plate  4,  fig.  2). 


82 


ROUGH  NOTES  ON  POTTERY. 


The  Duke  of  Wurtemberg,  in  1758,  founded  a fac- 
tory at  Ludwigsburg  (Plate  4,  figs.  4 and  5),  and  this 
Kronenburg  china,  as  it  is  best  known  by,  was  of  high 
quality,  its  characteristics  being  well-modeled  figures 
and  artistically  executed  paintings.  This  was  in  exis- 
tence until  1821.  Hochst  workmen  also  started  a 
factory  at  Baden,  which  was  in  existence  from  1753 
to  1778.  These  same  workmen  also  sold  the  secret  to 
a merchant  named  Wegley,  who  founded  the  factory 
at  Berlin  (Plate  1,  fig.  17).  It  did  not  attain  much 
prominence  until  Frederic  the  Great  transported  by 
force  the  workmen  from  Dresden  and  ordered  the 
manufactory  to  be  supplied  with  the  Meissen  clay. 
China  second  only  to  old  Dresden  continues  to  be  pro- 
duced here  (Plate  4,  fig.  9).  Very  large  vases  beau- 
tifully decorated,  candelabra,  busts,  table  services  and 
pieces  in  pate-sur-pate  are  produced.  The  colors  on 
Berlin  china  are  especially  rich  and  admirably  con- 
trasted. 


Germany  and  Austria. 

THE  use  of  tin  enamel  and  of  enamel  colors  seem  to  have  been  known  in 
Germany  as  early  as  the  Thirteenth  Century,  but  apparently  fell  into 
disuse  and  was  superseded  by  the  fine  stone  ware  for  which  Germany  has 
so  long  been  celebrated.  This  is  called  by  the  French  uGres  des  Flandres ,” 
though  for  what  reason  is  not  apparent.  The  suggestion  is  hazarded  that  it  may 
have  been  because  they  received  it  through  the  great  emporium  of  Antwerp,  the 
distributing  point  for  the  Rhine  trade.  In  like  manner  Chinese  porcelain  was  long 
designated  as  Indian,  through  our  receiving  it  via  the  East  Indies. 

The  name  of  the  unfortunate  Jacquelaine  of  Bavaria,  whose  cause  was  so 
warmly  though  unsuccessfully  championed  by  the  Duke  of  Gloucester,  will  always 
be  associated  with  its  manufacture,  she  having,  during  her  long  hours  of  captivity, 
employed  herself  in  fashiuning  it. 

The  early  examples  have  stamped  reliefs,  usually  Gothic  in  character,  or  sharp 
incised  patterns  which  seemed  to  lose  none  of  their  pristine  freshness  during  the 
firing.  Both  lead  and  salt  glazing  were  employed.  Graffito  ware  was  also  made 
during  the  Seventeenth  and  Eighteenth  Centuries.  A coating  of  white  slip  was 
applied  to  a colored  body,  which  was  then  cut  away  down  to  the  body  in  the  form 
of  the  ornament  required. 

The  best  qualities  of  stone  ware  were  made  at  Cologne. 

The  history  of  the  well-known  house  of 

Villeroy  & Boch 

furnishes  us  with  much  valuable  information  respecting  pottery  in  Germany  during 
the  present  century.  It  was  established  January  1st,  1841.  Mr.  Villeroy  was  pro- 


GERMANY  AND  AUSTRIA. 


83 


prietor  of  an  earthenware  manufactory  at  Wallerfangen,  which  was  founded  in  1789 
by  his  ancestor,  Nicholas  Yilleroy,  who  for  a long  time  struggled  against  adverse 
fortune,  and  it  was  not  until  1828,  when  Aug.  Jaunez,  a Frenchman,  was  appointed 
director,  that  it  was  placed  on  a paying  basis.  He  introduced  the  English  system 
of  manufacture  and  considerably  improved  the  quality  of  the  ware. 

Pierre  Joseph  Boch,  the  son  of  a foundry  workman,  had  made  an  attempt  in 
1748  to  manufacture  pottery  in  Lorraine,  but  on  account  of  an  unsuccessful  lawsuit 
was  obliged  to  abandon  it,  and  he  and  his  two  brothers  went  to  Septfontaines  and 
obtained  a concession  from  the  Austrian  government  in  1766,  to  carry  on  an  earth- 
enware manufactory  there  with  the  further  privilege  of  styling  it  the  Imperial 
Royal  Manufactory.  Cream  color  was  the  staple  product,  but  in  1790  they  were 
producing  small  china  ornaments  and  figures  in  pate  tendre  (Plate  4,  fig.  24).  This 
probably  only  lasted  until  1795.  In  this  year,  during  the  siege  of  Luxemburg  by 
the  French,  the  factory  was  destroyed,  but  was  rebuilt  about  seven  months  later. 
P.  J.  Boch  died  in  1818. 

His  son,  Jean  Francois,  had  in  1809  bought  the  Abbey  of  Mettlach,  suppressed 
by  the  French  Republic,  and  obtained  permission  to  establish  a factory  there,  but 
only  on  condition  that  coal  instead  of  wood  should  be  used  in  the  firing.  To  Mett- 
lach therefore  is  to  be  ascribed  the  honor  of  first  using  coal  for  fuel  in  the  firing  of 
pottery  on  the  Continent,  as  it  was  also  the  first  to  use  the  English  process  of  print- 
ing from  copper  plates.  It  was  not 
until  after  the  amalgamation  of  the 
firms  that  they  commenced  the  manu- 
facture of  stone  ware  with  inlaid 
designs  in  colors,  for  which  they  have 
to-day  an  unrivalled  reputation.  The 
old  tower  in  the  grounds  of  the  Abbey 
was  adopted  as  a trade-mark  (Plate  2, 
fig.  44).  J.  F.  Boch  died  in  1858  and 
was  succeeded  by  his  son  Eugene.  So 
large  a variety  of  goods  were  produced, 
so  many  new  manufactures  were 
added  that  the  premises  became  in- 
adequate to  their  requirements,  and 
the  earthenware  business  was  installed 
in  a new  factory  at  Dresden,  of  which 
Mr.  Edmund  Boch  has  charge,  with 
De  Welkens  as  director,  a position  he 
has  worthily  filled  since  1874. 

A factory  for  Mosaic  Tiles  was 
also  built  at  Mettlach,  directed  by 
Rene  Boch,  where  immense  quantities 
of  tiles  are  produced,  and  so  success- 
ful have  they  become  that  the  term 
“Mettlacher  Flatten,  ” has  become  the 
generic  name  for  such  productions  in 
Germany.  Mosaic  and  wall  tiles  are 


Rmlolstadt  Vase.  Page  84 


84 


ROUGH  NOTES  ON  POTTERY. 


also  produced  very  extensively.  The  firm  have  also  factories  at  Wadgassen  for 
glassware;  at  Merzig  for  mosaic  pavements  and  at  Schramberg  for  light  earthenware 
and  majolica.  In  these  factories  the  firm  employ  over  5,000  workmen,  and  the 
consumption  of  materials  is  something  like  135,000  tons  per  annum. 

The  drinking  vessels  and  vases  of  Mettlach  with  those  finely  drawn  and 
characteristic  decorations,  richly  ornamented  with  inlaid  colors,  and  the  placques 
and  vases  in  the  style  of  the  old  Frankish  ware,  with  bright  blue  painting  pre- 
dominating, are  the  best  known  products  of  the  firm,  and  their  merit  has  fairly 
earned  the  popularity  they  enjoy. 

The  general  mark  since  1874  is  the  head  of  Mercury,  with  the  name  of  the  firm 
and  place  of  manufacture  below  (Plate  2,  fig.  46),  whilst  for  special  art  goods, 
fig.  47  is  used,  and  for  art  goods  made  at  Dresden,  fig.  45.  The  mark,  plate  4,  fig. 
25,  is  the  earliest  Mettlach  mark. 

Other  factories  whose  marks  are  given  and  whose  goods  find  a ready  sale  in 
this  country  are  briefly  enumerated  below. 

Hutschenrenther , C.  M.}  Hohenberg.  The  mark  used  by  this  house  is  the  Aus- 
trian shield  or  bee-hive  of  the  old  Vienna  factory.  This  is  printed  under  the  glaze 
on  white  ware  principally  on  copies  of  Vienna  shapes,  and  then  sold  to  decorators, 
who  use  Viennese  decorations  and  such  pieces  are  often  impudently  offered  as  real 
Vienna  china. 

Gerbinge , F.  & A.,  Bodenbach.  His  specialty  is  re-production  of  old  Greek  and 
Egyptian  pieces,  very  well  done. 

Herender  China  Factory , Herend  (Plate  2,  fig.  39).  Established  in  1839  and  long 
celebrated  for  the  wonderful  reproduction  of  old  Meissen,  Sevres,  Chinese  and 
Japanese.  So  carefully  are  these  reproductions  made  in  all  their  details,  that,  as  an 
instance,  Chinese  ceramic  artists  are  employed  to  decorate  the  Chinese  pieces. 

The  New  York  and  Budolstadt  Pottery  was  established  in  1882.  The  products 
consist  of  finely  conceived  and  executed  ornamental  goods,  both  in  china  and  earthen- 
ware. Among  their  contributions  to  ceramic  art,  a large  line  of  vases  with  richly 
colored  grounds  and  figure  subjects  painted  in  panels  commands  special  attention. 
These  pieces  are  most  beautifully  and  artistically  executed  by  a large  staff  of 
painters,  prominent  among  whom  are  Helbig,  Muller,  Carlo,  Loufer,  Wagler, 
Boch  and  Walter.  It  is  most  unusual  for  one  manufactory  to  be  able  to  find  work 
for  so  many  figure  painters,  but  it  is  the  less  surprising  that  such  an  aggregation  of 
talent  should  be  gathered  under  one  roof,  when  we  see  the  beautiful  results  pro- 
duced. The  fine  soft  glaze  is  an  important  factor  and  greatly  assists  the  artists  in 
producing  color  effects.  Another  line  of  goods  have  solid  grounds  of  brilliant  enamels 
on  which  flower  subjects,  slightly  conventionalized,  are  outlined  in  gold.  The  vase 
of  which  we  give  an  illustration  is  one  of  a series  of  reproductions  of  Greek  shapes, 
of  which  there  is  a large  variety.  Mr.  E.  Gutherz  is  the  director.  (Plate  3,  figs.  42 
and  43.) 

Fischer  & .Mieg,  Pirkenhammer,  near  Carlsbad,  were  established  in  1801. 
They  make  a good  quality  of  china,  large  quantities  of  which  are  sold  to  decorators. 
(Plate  2,  fig.  42). 

W.  Zsolnay,  Funfkirchen.  Established  in  1855,  and  produces  a very  fine  quality 
of  majolica,  well  modeled  and  richly  glazed.  He  has  lately  bought  up  the  factory 
of  J.  Fischer,  Budapest,  one  of  the  most  successful  reproducers  of  old  Dresden  and 


GERMANY  AND  AUSTRIA. 


85 


Sevres.  The  five  church  mark,  (Plate  2,  fig.  38)  has  such  a deservedly  good  reputa- 
tion, that  we  may  feel  sure  the  Fischer  reproductions  will  not  be  issued  under 
any  other. 

Mehlem , F.  A.  Bonn,  A.  R.  Established  in  1755.  Royal  Bonn  has  long 
been  a a favorite  ware,  and  though  some  Bonn  productions  have  been  rather  close 
copies  of  contemporary  successes,  there  has  been  enough  individuality  about  them 
to  remove  them  from  the  suspicion  of  being  foisted  on  the  public  as  the  genuine 
wares  they  resemble,  each  piece,  in  addition,  bearing  the  factory  mark.  (Plate  2,  fig. 
20  and  plate  3,  fig.  40).  Some  very  good  pieces  of  Delft  ware  have  been  produced 
here,  running  the  Delft  factory  very  close  for  first  honors.  A recent  production, 
giving  a very  charming  effect,  very  restful  to  the  eye,  are  large  vases  painted  with 
landscapes  in  brown,  with  a very  effective  finish  in  gold  and  colored  bronzes. 

Meissener  Ofen  & Porz , Meissen.  Established  in  1864  and  producing  princi- 
pally useful  articles.  The  well  known  Onion  pattern,  one  of  the  original  Meissen  or 
Dresden  successes  is  made  here  in  large  quantities  and  bears  the  mark  plate  4, 
fig.  23. 

Ludwig  Wessell,  Popplesdorf,  near  Bonn.  An  old  factory  in  existence  since 
1755,  and  now  employing  about  a thousand  workmen.  The  products  are  styled 
11  Imperial  Bonn,”  and  are  of  about  the  same  character  as  those  of  F.  A.  Mehlem. 
(Plate  2,  fig.  41). 

J.  von  Schwarz , Nurembrug.  A manufacturer  of  fine  majolica,  richly  colored  in 
bright  warm  tones.  Some  of  his  large  pieces  are  extremely  decorative  and  evidence 
great  artistic  feeling.  Dr.  Richard  Lindhurst  is  the  director.  (Plate  2,  fig.  43). 

Dernheim , Koch  & Fischer , Grafenroda,  Thuringia,  (plate  2,  fig.  37),  produce 
Bisque  figures,  raised  flower  decorations,  &c.  The  miniature  furniture  covered 
with  Dresden  flowers,  in  vogue  a short  time  ago,  was  made  here. 


Vienna. 


ONE  of  the  runaway  workmen  from  Meissen,  named  Stenzel,  in  conjunction 
with  a Dutchman,  Claude  Innocent  du  Paquier,  obtained  a concession  in 
1718  for  the  purpose  of  producing  china  in  Vienna.  Whether  Stenzel  was 
incompetent  and  possessed  only  a rudimentary  knowledge  is  uncertain,  but  no  suc- 
cess was  obtained  and  he  returned  without  divulging  his  secret — if  indeed  he  pos- 
sessed one.  Paquier  continued  the  works  and  gave  them  a semblance  of  activity 
until  1744,  when  they  were  ceded  to  the  government.  Three  years  later  Joseph 
Niedermayer  was  named  master  modeler  and  the  manufacture  of  small  figures  was 
added.  About  this  time  the  Austrian  shield  was  adopted  as  a mark.  The  staff  was 
considerably  augmented ; from  the  twenty  employed  in  1744,  it  reached  two  hun- 
dred in  1770,  and  three  hundred  and  twenty  in  1780.  But  the  consequent  increase 
in  production  had  its  effect  on  the  quality  of  the  goods,  and  a decline  in  style 
resulted.  The  factory  was  offered  for  sale  in  1784,  but  as  no  buyer  appeared  Baron 
von  Sorgenthal  was  confirmed  in  his  position  as  director.  He  introduced  some 
judicious  reforms,  cultivated  a closer  study  of  art  methods  and  soon  raised  the  char- 
acter of  the  products  to  a much  higher  level.  Flaxman  was  employed  and  under 


86 


BOUGH  NOTES  ON  POTTERY. 


his  direction  imitations  of  the  fine  potteries  of  Wedgwood  were  produced.  Politi- 
cal events  did  much  to  injure  the  establishment  until  1813  when  it  commenced  by 
degrees  to  recover  its  lost  prestige.  In  1856,  a decision  of  the  Reichsratli  suppressed 
it,  and  many  of  the  models,  &c.,  were  deposited  in  the  Austrian  museum.  The 
mark  was  the  Austrian  shield.  (Plate  1,  figure  11). 

Many  German  and  Austrian  manufacturers  use  this  mark  for  Vienna  shapes 
and  designs  up  to  the  present  time,  but  it  is  usually  on  the  glaze,  though  even  if 
under  the  glaze,  that  in  itself  is  not  sufficient  guarantee  that  it  is  old  Viennese. 

Hutschenreuther,  of  Hohenberg,  prints  the  mark  under  the  glaze  and  mostly 
disposes  of  the  white  to  decorators. 


Royal  Danish. 


THE  Royal  Porcelain  Manufactory,  at  Copenhagen,  no  longer  “Royal” 
under  its  ownership,  never  had  greater  claims  to  its  distinguished  appela- 
tive,  than  under  its  present  management.  There  is  no  pandering  to  public 
taste,  if  that  taste,  as  is  sometimes  the  case,  is  out  of  sympathy  with  that 
artistic  feeling,  which  has  always  been  such  a dominating  factor  in  the  production 
of  the  factory.  It  is  singular  to  what  an  extent  the  spirit  of  commercialism  has 
been  suppressed.  There  has  never  been  any  attempt  made  to  produce  a vast  output 


ROYAL  DANISH. 


87 


and  this  subordination  of  the  commercial  to  the  artistic  motive  is  a characteristic  of 
the  factory,  which  in  view  of  the — presumably — remunerative  prices  commanded 
for  their  productions  affords  food  for  serious  reflection.  A very  early  production  of 
the  Copenhagen  works  is  the  well  known  blue  fluted  pattern,  entirely  painted  by 
hand  in  blue  and  simple  in  design,  but  notwithstanding  the  fact  that  a number  of 
English  and  other  potters  have  produced  a similar  pattern  from  copper  plates,  there 
is  still  a steady  demand  for  the  original  “ Royal  Danish.” 

The  Copenhagen  factory  was  founded  in  1772,  by  a chemist  named  Muller,  and 
a workman  from  the  Furstenberg  manufactory,  but  no  great  amount  of  success  was 
obtained,  and  to  rescue  it  from  the  difficulties  that  threatened  it,  King  Christian 
VII.  purchased  it  from  the  company  incorporated  by  Muller.  No  notable  success 
followed,  with  the  exception  of  the  production  of  a finely  executed  set,  now  in  the 
royal  castle  at  Rosenborg,  decorated  with  specimens  of  the  whole  Danish  flora  and 
known  as  “ Flora  Danica”  (and  which  in  recent  years  has  been  reproduced),  until 
their  spirited  reproduction  in  biscuit  of  many  of  the  works  of  the  celebrated  Danish 
sculptor,  Thorvaldsen,  which  from  their  excellent  modeling  and  general  artistic 
excellence  at  once  placed  the  factory  on  a much  higher  plane  than  they  had  hitherto 
occupied.  But  the  sales  were  not  equal  to  the  great  cost  of  production,  and  in 
1867  the  manufactory  was  sold  to  Mr.  Falck,  who  in  1882  resold  it  to  the  limited 
company  “ Aluminia,”  the  owners  of  an  extensive  earthenware  manufactory.  The 
continuation  of  the  use  of  the  original  trade-mark  was  authorized,  extensive  addi- 
tions were  made  to  the  factory  and  it  entered  on  a new  lease  of  life.  Mr.  Philip 
Schou  was  intrusted  with  the  administration,  and  he  was  fortunate  enough  to 
secure  the  services  of  Mr.  V.  Engelhardt,  a chemist,  and  of  Mr.  Arnold  Krog,  an 
artist  designated  by  Mr.  Gamier,  the  Conservator  of  the  Ceramic  Museum  of  Sevres, 
as  of  “undisputed  talent  and  astonishing  originality.”  Very  decided  advances 
were  quickly  made,  and  after  the  Copenhagen  Exhibition  of  1888,  Mr.  Schou  was 
created  a Knight  Commander  of  the  Legion  of  Honor.  In  the  following  year,  again 
quoting  M.  Gamier,  “All  lovers  of  fine  arts  cherish  the  memory  of  these  porcelains 
of  such  perfect  manufacture,  of  a glaze  so  clear  and  soft,  of  forms  so  pure  and  del- 
icate and  of  a decoration  so  simple  and  harmonious,  whose  distinction  formed  a 
glaring  contrast  to  the  overloading  of  the  discordant  pictures  and  glittering  gilding 
of  the  neighbouring  sections.”  And  again  in  1893,  he  says,  “ It  was  astonishing  to 
see  the  results  obtained  by  these  able  artists  who,  in  spite  of  the  technical  difficul- 
ties and  with  only  the  three  or  four  colors  that  can  stand  the  temperature  neces- 
sary for  the  firing,  have  succeeded  in  producing  works  of  indisputable  value,  in 
which  their  individuality  strongly  asserts  itself,  works  impregnated  with  a soft  and 
tender  melancholy,  as  the  ‘ Lilies  at  Night,’  by  G.  Heilmann,  powerful  as  ‘The 
Giant,’  by  Krog,  or  ‘ The  Crows,’  by  Mortensen,  of  a marvellous  skill  in  the  execu- 
tion as  ‘The  Setting  Sun,’  the  ‘Flight  of  the  Sparrows’  and  ‘The  Lilacs,’  by 
Lisberg.  ’ ’ 

These  artistic  productions  so  enthusiastically  described  by  M.  Gamier,  were  first 
shown  at  the  Paris  Exhibition  of  1889,  and  aroused  something  akin  to  a sensation 
They  are  painted  in  “ grand  feu”  colors,  necessarily  limited  in  number,  but  with 
so  much  originality  and  in  some  cases  absolute  daring  have  the  Copenhagen  artists 
treated  their  subjects,  rivaling  the  best  efforts  of  Japan,  of  which  school  there  is  a 
faint  suggestion,  that  an  entirely  new  school  in  ceramics  was  created,  which  for  indi- 


88 


ROUGH  NOTES  ON  POTTERY. 


viduality  is  only  comparable  with  our  own  Rookwood.  The  Danish  china  is 
unequaled  in  its  body,  whilst  the  glaze  is  so  clear  and  tender  as  to  suggest  the 
liquid  depths  of  your  sweetheart’s  eyes. 

The  trade-mark  of  the  factory  (Plate  2,  fig.  22)  is  the  three  waved  lines,  repre- 
senting the  three  Danish  waters,  the  Sound  and  the  two  Belts.  To  meet  Congres- 
sional requirements,  the  word  “Danemark”  underneath  a crown  is  added,  this  latter 
a superfluity,  as  the  productions  require  no  insignia  to  attest  their  claim  to  be  in 


About  the  end  of  the  16th  cen- 
tury large  quantities  of  pottery  were 
made  at  Delft  in  Holland.  To  imi- 
tate Oriental  ware  the  body  was  cov- 
ered with  an  opaque  white  enamel, 
on  which  the  decoration  was  applied. 
The  best  effects  were  in  a deep  rich 
blue  and  the  ablest  artists  of  the  times 
were  employed  in  their  decoration. 
The  ware  was  remarkable  for  its 
hardness  and  was  very  thin  and 
light.  Polychrome  decorations  were 
artistic  value.  A favorite  pattern 
applied  to  plates  was  an  arrangement  of  peacock’s  feathers.  Hexagonal  vases, 
beakers  and  copies  of  grotesque  Japanese  shapes  were  also  made  in  large  quantities. 
The  marks,  plate  1,  figs.  2,  are  probably  those  of  two  members  of  the  Kulick 
family.  The  manufacture  began  to  decline  towards  the  end  of  the  17th  century, 
and  many  Dutch  workmen  settled  in  London  and  there  originated  the  manufacture 
of  what  was  first  called  “Delft  ware.”  From  London  the  manufacture  drifted  to 
Liverpool  and  Staffordshire,  and  in  England  the  word  Delft  is  frequently  used  in 
reference  to  almost  any  kind  of  pottery.* 

The  recent  revival  in  this  class  of  decoration  is  mainly  due  to  Messrs.  Thooft  & 
Labouchere,  of  Delft,  who  had  a fine  exhibit  of  it  at  the  Chicago  Exhibition.  This 
house  alone  as  far  as  I am  aware  is  the  only  one  that  has  adhered  to  the  original 
methods  of  the  old  Dutch  potters,  their  productions  being  in  all  details  excel- 
lent reproductions  of  the  originals  (Plate  2,  fig.  30).  Anton  Mehlem  of  the  Royal 
Bonn  factory  also  produces  some  very  good  pieces.  Of  their  host  of  imitators,  the 
bulk  of  the  goods  offered  are  beneath  criticism,  all  that  made  Delft  valuable  being 
conspicuous  by  its  absence.  From  this  category  exception  must  be  made  in  favor  of 
Messrs.  Boch  freres,  La  Louviere  Belgium  (Plate  4,  fig.  38)  who  have  issued  some  excel- 
lent pieces,  and  also  to  Villeroy  & Boch,  which  latter  though  produced  by  a mechan- 
ical process,  are  good  both  in  drawing  and  color.  Messrs.  Boch’s  general  mark  is 
plate  3,  fig.  32. 

* She  with  her  apron  wiped  the  plates,  and  as  she  rubbed  the  delft.”— Ingoldsby  Legend . 


fact  as  well  as  in  name — “ Royal  Danish.” 


Delft. 


also  applied,  but  these  have  generally  little 


ROYAL  DANISH. 


89 


Tournay. 

In  1751  Peterinck,  a native  of  Lille,  obtained  the  privilege  of  manufacturing 
porcelain  at  Tournay.  He  engaged  principally  English  workmen,  and  in  1759  the 
town  council  decided  to  send  for  an  English  Jesuit  priest  at  the  expense  of  the 
town,  to  convert  them  to  the  Roman  Catholic  religion.  The  bleu  de  roi  produced 
here  equaled  that  of  Sevres.  (Plate  2,  fig.  19).  It  is  principally  from  this  factory 
that  the  imitations  of  Sevres  emanate.  The  Paris  workshops  also  produce  them  in 
abundance. 


Sweden. 


“the  land  of  the  midnight  sun.” 
Rorstrand. 


THE  exhibitions  of  Philadelphia  and  Chicago  first  gave  to  the  American  pub- 
lic an  opportunity  of  becoming  acquainted  with  the  Swedish  potteries, 
through  works  as  original  and  artistic  as  they  were  surprising. 

The  Rorstrand  factory  near  Stockholm  was  established  in  1727,  under 
the  patronage  of  Baron  Pierre  Adlerfelt.  The  first  director,  Jean  Wolf,  and  his 
associate,  Andre  Nicholas  Ferdinand,  experienced  great  difficulties  at  the  outset, 
but  later,  under  the  direction  of  Conrad  Hunger,  who  had  worked  as  a decorator 
at  Meissen,  the  difficulties  one  by  one  disappeared  and  considerable  progress  was 
made  and  they  enjoyed  a monopoly  in  the  manufacture  of  faience  and  were  privi- 
leged to  use  the  word  Royal  in  connection  with  their  title.  In  1780,  or  soon  after- 
wards, the  three  Crowns  of  Sweden  were  adopted  as  a trade- mark  (Plate  2,  fig. 
33)  their  distinguishing  badge  having  hitherto  been  an  abbreviation  of  the  name 
often  followed  by  the  date  of  manufacture  (Plate  4,  fig.  56). 

The  present  high  standing  of  the  works  is  due  in  a great  measure  to  the  energy 
and  pluck  of  the  present  director,  Mr.  Robert  Almstrom,  who,  from  a very  humble 
position  has,  by  dint  of  sheer  hard  work,  unswerving  integrity  and  precision  of 
judgment,  raised  himself  not  only  to  the  position  of  director  of  the  largest  factory 
in  Sweden,  but  has  fitted  himself  for  the  duties  of  Senator  and  as  worthily 
serves  his  country  as  he  did  his  employers,  in  whatever  capacity  he  was  employed. 
Such  gifts  as  his  country  could  bestow  have  been  willingly  showered  on  him,  and 
whether  as  a member  of  the  City  Council,  of  the  Academy  of  Science  or  Director 
of  the  Bank  of  Sweden,  he  invariably  commands  respect.  He  has  been  decorated 
with  the  Cross  of  the  Legion  of  Honor  and  with  several  Swedish  orders. 

At  the  time  the  management  of  the  factory  was  placed  in  his  hands  about  two 
hundred  workmen  were  employed,  where  now,  in  the  new  buildings  erected  under 
his  superintendence,  over  one  thousand  respond  to  the  roll  call. 

The  Rorstrand  productions  are  so  varied  in  character  that  it  will  only  be  possi- 
ble to  notice  a few  of  them  here.  In  pedestals  and  flower  pots  there  is  an  almost 


90 


ROUGH  NOTES  ON  POTTERY, 


bewildering  profusion,  both  of  shapes  and  decorations,  characterized  no  less  by  the 
skilful  modeling  than  by  the  harmonious  color  effects  everywhere  obseivable.  Some 
of  these  pedestals  are  so  airy  and  delicate  in  form  as  to  make  us  wonder  how  they 
have  retained  their  shape  in  the  process  of  firing,  but  so  excellent  are  the  propor- 
tions that  they  impress  you  with  no  feeling  of  distrust  as  to  their  strength.  Beau- 
tiful white  creamy  grounds,  relieved  in  low  tones  of  greens  and  browns  mingled 
with  gold  are  particularly  attractive.  Some  have  the  embossments  penciled  in  dark 
blue,  whilst  others  are  entirely  covered  with  one  tint  of  a rich,  luscious  glaze, 
amongst  which  a beautifnl  plum  color  deserves  special  mention.  It  is  astonishing 
that  such  rich  and  striking  effects  can  be  produced  without  sacrificing  the  quality 
of  either  body  or  glaze,  both  of  which  are  evidently  much  harder  and  durable  than 
is  usual  in  this  class  of  goods.  These  goods  alone  are  sufficient  to  establish  the 
Rorstrand  factory  in  a very  high  position  in  the  ceramic  world. 

In  vases,  quaint  of  shape,  there  is  a 
large  variety,  decorated  with  colored 
glazes.  A bottle  with  a long  narrow  neck, 
in  shades  of  blue  varying  from  turquoise 
to  mazarine,  forms  an  object  lesson  of 
what  these  potters  from  “ the  land  of  the 
midnight  sun  ” are  capable  of  producing. 
It  displays  some  color  effects  perfectly 
indescribable. 

In  china  there  is  a large  variety  of 
plates,  cups,  chocolate  jugs,  etc.,  many  of 
them  very  simple  in  design,  others  of  a 
more  ornate  character.  The  body  is  thin 
and  extremely  translucent. 

Beer  jugs  and  mugs  in  stoneware  with 
artistically  executed  incised  designs,  are 
an  important  Rorstrand  production,  and 
considering  the  short  space  of  time  they 
have  been  on  the  market,  have  acquired 
what  must  be  a very  gratifying  popularity. 

Some  articles  distinctly  Swedish  in 
character  are  the  Walhalla  drinking  horns, 
which  come  in  a variety  of  decorations, 
one  of  the  most  pleasing  being  an  old 
ivory  finish,  relieved  at  the  top  with  a 
colored  border.  These  horns,  suggestive 
of  the  mighty  Odin  and  Thor,  are  sup- 
ported by  a gnome,  a figure  frequently 
introduced  in  connection  with  other  orna- 
mental forms. 

Huge  mugs  with  groups  of  Swedish 
peasants,  illustrative  of  the  work  of  Bell- 
man, the  Robert  Burns  of  Sweden,  and 
cigar  ash  receivers,  illustrating  Swedish 


CHINA  AND  JAPAN. 


91 


costumes,  have  a quaint  originality  all  their  own. 

Many  patterns  of  dinner  ware,  both  in  china  and  earthenware,  are  produced 
of  good  design  and  finish. 

Stralsund  {Pomerania).  A factory  was  founded  here  in  1731  by  John  Pasko- 
witz,  one  of  the  best  workmen  of  Korstrand,  and  assumed  some  importance 
in  1767  under  the  direction  of  D’Ehrenreich.  It  produced  at  that  time  a number 
of  important  works,  principally  in  blue. 

Marieburg , in  the  environs  of  Stockholm,  was  the  seat  of  a factory  that  attained 
some  distinction.  It  was  founded  in  1758,  by  Louis  Ehrenreich,  under  the  patron 
age  of  Charles  Frederic  Scheffer,  one  of  the  richest  and  most  influential  men  of  the 
Court  of  Sweden,  who  obtained  for  it  the  title  of  Royal  Manufactory.  The  products 
resembled  those  of  Neiderwiller  and  Strasburg,  and  were  justly  esteemed.  Many 
of  the  decorations  were  flowers,  leaves,  etc.,  in  relief.  Some  of  the  shapes,  in 
striving  after  originality  became  bizarre,  such  for  instance  as  a soup  tureen  in  the 
shape  of  a bishop’s  mitre.  In  1765  they  adopted  the  English  printing  process.  The 
works  were  finally  closed  in  1780  and  the  stock  sold  at  auction  (Plate  4,  fig.  57). 

Gustafsburg.  There  is  a large  factory  here  giving  employment  to  about  1,000 
workmen,  and  making  a large  variety  of  goods.  It  was  founded  in  1827. 

China  and  Japan, 


THERE  seems  no  reason  to  doubt  that  pottery  was  made  in  China  as  early  as 
2697  B.  C.  The  claim,  however,  as  to  the  antiquity  of  hard  porcelain  is 
not  borne  out  by  the  facts.  The  claim  was  based  upon  the  discovery  of 
some  small  vases  in  Egypt  made  of  hard  porcelain  and  inscribed  with  Chinese  char- 
acters which  were  said  to  have  been  found  in  the  tombs  of  Thebes,  dating  as  early  as 
1800  B.  C.  But  as  these  characters  were  found  to  be  quotations  from  Chinese  poets  of 
the  8 th  century,  A.D.,  this  fact  was  sufficient  to  demolish  the  theory.  Hard  porcelain 
was  probably  first  made  during  the  Han  dynasty,  206  B.  C.  to  25  A.  D.  It  is  made  of 
two  substances  pe-tun-tse  and  kaolin,  the  latter  a white,  clay,  derived  from  the 
decomposition  of  felspathic  rock.  Pe-tun-tse  resembles  it,  but  with  the  addition  of 
a considerable  proportion  of  free  silica.  The  glaze  is  very  hard  and  made  almost 
wholly  of  pure  felspar.  This  is  the  natural  porcelain,  the  glaze  and  body  being 
fired  at  the  same  time,  the  whole  perfectly  vitrified.  Other  natural  porcelains  are 
those  of  Japan,  Fiance,  Dresden  and  Berlin.* 

In  Chinese  porcelain,  the  earlier  sorts  were  not  decorated  with  paintings,  but 
were  all  of  one  rich  color.  The  period  from  A.  D.  265  to  419  is  remarkable  for  its 


* Mr.  F.  W.  Rudler  says : “ The  felspar  of  granite  decompose?  ; its  alkaline  silicate  is  removed  and 

the  silicate  of  aluminum,  with  which  it  was  associated  remains  behind  in  a hydrated  condition.  It  is  this 
which  constitutes  kaolin  or  china  clay.  But  if  the  decomposition  of  the  granite  is  not  complete,  so  that 
the  telspar  though  altered  still  retains  some  of  its  alkaline  silicate  the  product  is  known  as  pe-tun-tse, 
or  china  stone.  Now  since  the  alkaline  silicate  is  a very  fusible  substance,  it  follows  that  the  china 
stone  yields  a more  fusible  product  than  the  china  clay.  Hence  the  use  of  the  stone  or  pe-tun-tse,  in 
producing  trnnslucency,  on  in  imparting  to  the  porcelain  more  or  less  of  a vitreous  diameter.  Curi- 
ously enough  it  is  said  now  that  we  have  always  been  wrong  in  our  use  of  the  two  Chinese  terms,  that  in 
fact  kaolin  is  used  in  China  as  a term  for  china  stone  and  not  for  the  clay:  while  the  clay  itself  is 
called  pe-tun-tse.  We  have  in  fact  reversed  their  original  use.” 


92 


rough  notes  on  pottery. 


blue  : 518  to  618  for  its  green,  and  954  for  a deep  sky  blue,  and  from  the  fact  that 
the  ware  was  made  extremely  thin.  Decorations  do  not  appear  to  have  been  gen- 
eral until  about  the  end  of  the  12th  century,  and  were  brought  to  great  perfection 
under  the  Ming  dynasty,  1368  to  1644.  The  celebrated  Chinese  crackle  ware  is 
made  by  mixing  steatite  with  the  glaze,  and  the  piece  before  firing  is  exposed  to  the 
sun,  which  cause  the  glaze  to  craze.  Red  pigment  or  black  Chinese  ink  is  then  rubbed 
into  the  cracks  to  accentuate  them , and  the  piece  is  then  fired.  Enamels  of  great  bril- 
liancy and  depth  are  employed,  blue,  yellow,  red  and  celadon.  The  yellow  is  made 
for  the  exclusive  use  of  the  Emperor.  These  peerless  enamels  are  used  both  for 
solid  grounds  and  painting.  In  their  treatment  of  flowers  the  Chinese  are  particu- 
larly successful,  but  the  decorations  generally  are  feebly  and  poorly  drawn  and  they 
seem  to  have  no  conception  of  the  forms  of  birds,  animals  and  the  human  figure. 
Nankin  porcelain,  painted  in  blue,  with  the  hawthorn  pattern,  was  exported  largely 
to  Europe  during  the  last  century  and  now  brings  high  prices.  It  is  probably  not 
older  than  the  16th  century  and  was  made  at  King-te-tchin,  the  port  of  export 
giving  it  its  name.  The  Aster  pattern  was  another  very  popular  decoration  in 
blue,  and  when  reproduced  by  Minton,  in  1874,  was  an  instantaneous  success. 

Amongst  the  curiosities  of  workmanship  and  evidences  of  the  ingenuity  of  the 
Chinese,  may  be  mentioned  the  “ grains  of  rice  ” pattern,  in  which  the  design  is  cut 
in  the  body  and  filled  in  with  glaze  ; the  delicate  egg  shell  china  of  the  15th  cen- 
tury and  the  reticulated  ware,  consisting  of  an  inner  and  outer  shell,  the  outer 
cunningly  perforated  in  intricate  patterns. 

The  principal  seat  of  the  pottery  industry  was  from  A.  D.  583  at  King-te-tchin, 
and  some  idea  of  the  extent  of  the  manufacture  may  be  gleaned  from  the  fact 
that  in  1717  three  thousand  kilns  were  in  operation.  The  town  was  sacked  dur- 
ing the  Tae-ping  revolution,  and  the  factories  destroyed.  The  town  has  since 
been  rebuilt  and  the  industry  restored.  There  are  other  factories  at  Canton, 
Ningpo,  Nankin  and  Pekin. 

Grotesque  and  quaint  shapes  and  decorations  abound,  but  unmeaning  as  most  of 
them  appear,  they  have  all  a real  significance.  The  familiar  Kylin  is  an  animal 
foretelling  good.  Its  body  is  covered  with  scales  and  its  branched  head  resembles 
that  of  the  dragon,  whilst  its  four  delicate  feet  are  terminated  by  clovon  hoof 
resembling  those  of  a stag.  The  Kylin  is  often  confounded  with  the  dog  of  Fo , 
which  has  its  feet  armed  with  claws  ; a grinning  face  with  sharp  teeth  and  a curly 
mane,  its  general  aspect  being  like  a lion.  The  dog  of  Fo  is  the  habitual  defender 
of  the  thresholds  of  temples  and  of  Bhuddist  altars.  Dragons  of  all  kinds  and  the 
well  known  Sacred  Horse  frequently  figure.  The  Fong-hoang , an  immortal  bird,  only 
approaches  men  to  herald  happy  events.  It  is  recognized  by  its  carunculated  head, 
its  neck  surrounded  with  silky  feathers  and  tail  of  pheasant  and  peacock.  It  was 
adopted  by  the  emperors  as  their  symbol,  but  later  the  dragon  was  substituted  and 
the  sacred  bird  became  the  emblem  of  the  princesses.  The  imperial  dragon  is 
armed  with  five  claws. 

Brief  mention  must  be  made  of  the  celebrated  porcelain  tower  of  Nankin, 
destroyed  by  the  Tae-pings.  It  was  built  about  1403-1424  and  was  composed  of 
porcelain  bricks  enameled  on  their  exterior  face.  The  surroundings  of  the  openings 
were  of  porcelain,  glazed  with  yellow  and  green,  and  ornamented  in  relief  with 
figures  of  dragons.  It  was  over  200  feet  high. 


CHINA  AND  JAPAN. 


93 


Chaffers  gives  an  excellent  summary  of  Chinese  marks  and  peculiarities  of 
decoration  from  which  the  following  table  is  compiled  : 


Period  or  Manufacture. 

Date. 

Acorus  or  acquatic  plant,  mark  underneath, 

Kiun,  A. 

D.  960-963 

Two  fishes  11  “ 

Long-thsiouen, 

969-1106 

Thin  iron  nail,  on  enamel  vase,  . 

. Iou-tcheon, 

969-1106 

Two  lions  and  a ball,  in  centre  of  vase, 

1st  quality  Young-lo 

1403-1425 

Two  mandarin  ducks,  centre  of  cups  and  bowls.  2d  “ 11  11 

< i a 

Cups  with  handles  ornamented  with  red  fish, 

Seouven-te 

1426-1436 

Fighting  Crickets 

a 

a a 

Hen  and  Chickens, 

Tching-hoa 

1465-1487 

Fighting  Cock 

u 

ll  It 

Grasshopper 

1 1 

ll  it 

Tea  tree  branch,  centre  of  white  cup  For  Emperor.  Chi-tsoung 

1522-1566 

Bamboo  leaves  and  blue  flowers. 

King-te-tchin 

1567-1619 

Japanese  pottery  and  porcelain  is  of  a much  later  date  than  Chinese.  A writer 
in  Chambers’  Encyclopedia  fixes  it  as  early  as  27  B.  C.,  but  this  is  undoubtedly 
incorrect.  A rough  kind  of  pottery  was  no  doubt  made,  but  it  was  not  until  about 
1230  A.D.,  that  a Japanese  potter  went  to  China  to  improve  his  process,  and  the 
introduction  of  glazed  pottery  in  Japan  was  the  result.  Hard  porcelain  appears  to 
have  been  first  made  in  the  Province  of  Hazen,  in  1513.  The  Japanese  is  a born 
imitator,  and  one  of  the  features  of  Japanese  porcelain  is  its  wonderful  success  in 
hnitating  almost  anything:  wood,  with  its  different  grain  ; ivory,  brass,  bronze, 
basket  work — anything.  Most  of  the  early  productions  were  copied  from  the 
Chinese,  and  the  marks  were  also  imitated,  so  as  to  make  it  difficult  to  distinguish 
them.  Satsuma  ware  was  originally  introduced  from  Corea,  and  was  made  at  first 
in  a private  factory  belonging  to  the  Prince  of  Satsuma.  The  most  highly  decorated 
kinds  were  not  made  until  the  end  of  the  eighteenth  century.  The  body  is  a fine  ivory 
white  clay,  covered  with  minute  crackled  glaze,  with  minature  paintings  of  birds 
and  flowers  in  brilliant  enamel  colors.  Only  modern  Satsuma  has  figure  decora- 
tions. Most  of  the  Satsuma  now  sold  is  a poor  imitation,  and  is  made  in  great 
quantities  at  Awata,  Ota,  Yokohama,  Kiota  and  Tokio.  Nearly  all  their  elaborate 
and  magnificent  methods  of  ceramic  decoration  are  of  modern  origin,  as  before  the 
present  century  the  simpler  methods  of  the  Chinese  were  used.  During  the  last  cen- 
tury large  quantities  of  Japanese  pottery  were  exported  to  Europe  and  frequently 
copied  by  the  artists  at  Dresden,  Worcester,  Chelsea,  etc. 

Japanese  Cloissonne  brings  high  prices,  though  its  artistic  merit  is  doubtful,  the 
writer  of  the  article  on  pottery,  in  the  Encyclopedia  Britannica,  characterizing  it  as 
“ a marvel  of  technical  skill  and  wasted  ingenuity.”  The  pieces  of  brass  which  form 
the  pattern  are  set  on  edge,  in  what  manner  it  is  difficult  to  say,  the  compartments 
are  filled  with  enamel,  and  the  whole  fired  in  the  usual  way. 

As  a decorator  the  Japanese  is  unexcelled,  and  he  will  arrange  a few  flowers  or 
a bird  in  a charming  way,  which  Europeans  vainly  strive  to  imitate.  Many  of  the 
distinctive  features  of  Japanese  pottery  are  fast  disappearing,  owing  to  the  absurd 
custom  of  sending  over  Western  shapes  and  objects  to  be  reproduced  there. 


94 


ROUGH  NOTES  ON  POTTERY. 


A SINGLE  piece  of  Rookwood  pottery  is  an  art  education  in  itself.  To  take  a 
piece  in  your  hand  and  feel  its  velvet  softness,  to  look  lovingly  on  the  happy 
blending  of  painting  and  glaze,  is  suggestive  of  a symphony — the  music  of 
some  half-forgotten  dream.  With  artistic  evidence  of  feeling,  the  designs 
are  suggested  rather  than  displayed,  and  invariably  they  are  in  sympathy  with  the 
shape  of  the  vase  decorated.  There  are  no  bizarre  effects  ; the  greens,  reds  and 
browns  are  clear  and  rich  in  tone,  aided  sometimes  by  the  color  of  the  body  itself, 
often  by  their  own  liquid  depths  ; apparently  unfathomable.  It  is  difficult  to  restrain 
one’s  enthusiasm  when  writing  of  Rookwood.  Only  a poet  could  do  it  justice.  It  is 
moreover  a distinctly  American  production,  the  result  of  American  brains  and 
energy,  the  capital  for  nearly  a decade  furnished  by  an  American  lady,  Mrs.  Bella- 
my Storer.  Its  clays  are  from  the  Ohio  valley,  its  artists  recruited  entirely — with 
but  one  exception — from  the  Cincinnati  Art  School.  Unlike  artists  in  European 
potteries,  who  are  not  allowed  to  sign  their  work  until  public  appreciation  wrings 
permission  from  a reluctant  employer,  who  has  in  view  the  glorification  of  his  own 
name,  rather  than  that  of  the  artist  who  has  contributed  so  much  towards  it — the 
Rookwood  artists  initial  every  piece  of  their  work,  and  a list  of  these  marks  is  gladly 
furnished,  and  equally  they  share  Rookwook’s  success. 

When  Mrs.  Storer  founded  the  Rookwood  pottery — it  was  under  a less  preten- 
tious roof  then — the  Rookwood  ware  of  to-day  had  no  existence  even  in  her  imagi- 
nation. Something  was  to  be  created,  something  that,  above  all,  should  possess 
individuality,  and  be  as  much  unlike  existing  pottery  as  possible.  She  and  her  asso- 
ciates were  in  full  sympathy  ; they  had  all  the  same  aspirations,  and  the  nobility  of 
these  were  realized  in  the  result.  Founded  in  1880,  it  was  not  until  1889  that  the 
works  became  self-supporting.  The  intervening  years  were,  for  the  most  part,  years 
of  trial,  of  doubt  and  public  apathy,  but  every  kiln  that  was  fired  and  drawn  taught 
some  useful  lesson  ; taught  more  and  more  of  the  possibilities  of  applying  a slip  deco- 
ration to  the  wet  clay  body.  In  all  these  years  Mrs.  Storer  was  sustained  by  the 
unswerving  faith  of  Mr.  W.  W.  Taylor,  her  partner,  an  old  and  valued  friend,  and 
upon  her  marriage  she  turned  over  her  entire  interest  in  the  pottery  to  him.  Since 


ROOKWOOD. 


95 


1890  the  Rookwood  pottery  has  become  a stock  company  of  which  Mr.  Taylor  in 
President,  and  Mr.  Bellamy  Storer,  Vice-President.  Success  after  success  followed 
each  other  in  rapid  succession.  Paris  and  Chicago  accorded  it  all  the  honors  they 
could  ; the  Royal  Industrial  Art  Museum  of  Berlin,  and  the  historic  factory  at  Sevres 
sent  for  specimens : Mr.  Binns,  of  the  Worcester  Porcelain  Works,  spoke  of  it  as 
u this  most  wonderful  ceramic  production,”  and  envied  America  the  possession  of 
it ; and  it  has  been  eulogized  by  the  press  of  the  entire  country. 

The  Rookwood  pottery  has  never  used  any  mechanical  means  in  the  produc. 
tion  of  designs,  and,  moreover,  no  two  pieces  are  alike.  Some  few  pieces  are 
moulded,  but  the  bulk  is  thrown  on  the  potter’s  wheel  to  accentuate  its  individuality 
as  much  as  possible. 

Previous  to  1886  the  ware  was  usually  stamped  with  the  name  in  a variety  of 
forms,  but,  in  this  year,  the  mark  on  cover  was  adopted.  A flame  at  the  top 
indicates  1887,  and  an  additional  flame  marks  each  succeeding  year. 


Note. — I had  originally  intended  to  include  in  this  work  some  notice  of  American  pottery,  but, 
during  the  last  few  years,  the  field  has  so  greatly  widened,  the  advance  has  been  so  marked,  that  I 
found  I could  not  do  justice  to  the  subject  in  the  space  at  my  command.  I,  therefore,  arrived  at  the 
conclusion  that  I could  best  serve  American  interests,  both  commercial  and  artistic,  by  devoting  a book 
entirely  to  “American  Pottery,”  and,  under  that  title,  I have  in  preparation  a work  uniform  in  size 
with  “Rough  Notes  on  Pottery.”  This  article  on  Rookwood  is  inserted  here  as  an  illustration  of  the 
interest  connected  with  the  subject.  W.  P.  J. 


Amelia  B.  Sprague.  K.  Shirayamadani.  Constance  A.  Baker. 


Geneva  Reed. 


96 


ROUGH  NOTES  ON  POTTERY. 


The  Process  of  Manufacture. 


THE  manufacture  of  pottery  in  its 
various  processes  is  one  of  the  most 
interesting  and  beautiful  of  all  the 
industrial  arts.  It  has  been  described 
over  and  over  again,  sometimes  with 
a measure  of  appreciation,  but  more 
frequently  with  ludicrous  mistakes  as  j 
misleading  as  they  are  imaginative. 
The  potter’s  wheel  has  a history  equal 
to  that  of  civilization  ; it  has  given  us 
the  best  thoughts  of  the  Greeks ; it 
has  inspired  one  of  our  noblest  poets. 
It  is  alike  a symbol  of  creative  power, 
no  less  than  of  evolution.  After  an 
existence  of  thousands  of  years  it 
seems  likely  to  be  relegated  to  desue- 
tude by  a horizontal  revolving  disc, 
eminently  practicable,  and  known  by 
the  unpoetical  name  of  the  “jolly.” 
Clay  alone  is  by  no  means  the  sole 
ingredient  of  Pottery.  Hard  porce- 
lain is  the  simplest  form  and  contains 
but  two  substances,  china  clay  and 
china  stone.  If  you  took  a block  of  felspar  and  carved  it  into  the  semblance  of  a 
cup,  the  same  as  the  Chinese  do  jade,  you  would  only  obtain  the  same  result  that  the 
potter  for  a few  cents  supplies  you  with.  Nature  has  decomposed  the  material;  fire 
restores  its  lost  properties. 

Other  varieties  require  a large  number  of  ingredients.  Some  of  the  principal 
ones  are  china  clay  to  give  purity ; ball  clay  to  give  plasticity  and  which  is  used  as 
a base;  flint  to  whiten  and  make  porous;  felspar  to  consolidate  and  close  the  pores 
like  a glue,  and  bones  or  phosphate  of  lime  to  increase  the  translucency.  It  is 
apparent  that  the  potter  must  have  a thorough  chemical  knowledge  of  these  ingre- 
dients. He  must  know  exactly  how  one  will  act  on  the  other  so  as  to  produce  a 
perfectly  homogeneous  whole.  The  glaze  must  be  in  perfect  agreement  with  the 
body,  the  firing  must  be  carried  up  to  but  not  beyond  a certain  point,  or  all 
his  efforts  are  in  vain,  and  the  glaze  will  peel  off  at  the  edge  or  quickly  craze. 
Crazed  ware  can  be  made  apparently  good  by  refiring,  but  the  crazing  is  certain  to 
re-appear.  But  knowing  these  things,  he  carefully  weighs  each  material  and  puts 
them  together  in  a circular  tank  called  a blunger.  In  the  centre  is  an  upright  shaft 
with  a number  of  arms  which  are  kept  constantly  in  motion  until  the  whole  mass 
is,  with  the  addition  of  water,  reduced  to  the  consistency  of  cream.  It  is  then  known 
as  “slip.”  This  mixture  is  run  off  into  another  tank  called  an  agitator,  where  it  is 
not  allowed  to  settle.  It  is  strained  through  a thick  bolting  cloth  into  another  tank 
connected  by  a trough  iu  which  are  placed  a number  of  powerful  magnets,  so  as  to 
extract  particles  of  iron  that  may  have  passed  through  the  lawn. 


THE  PROCESS  OF  MANUFACTURE. 


S7 


To  separate  the  water  from  the  clay  the  mixture  is  forced  into  a filter  press, 
but  it  is  still  full  of  air-holes  and  must  go  to  the  pug  mill.  This  is  an  upright 
cylinder,  a little  larger  at  the  top  than  at  the  bottom,  with  an  outlet  at  the  lower 
part.  In  the  centre  of  the  cylinder  is  an  upright  revolving  shaft  to  which  knives 
are  attached,  which  cut  and  mix  the  clay  thoroughly  and  drive  out  the  air-bubbles 
by  being  forced  through  a small  aperture,  and  it  is  now  ready  for  the  potter.  This 
last  process  was  formerly  done  by  men  trampling  the  clay  under  foot,  and  is  still 
practiced  in  France  when  an  extra  quality  of  body  is  required.  The  clay  is  now 
cut  into  pieces,  weighed  and  passed  to  the  thrower,  who  places  it  on  his  wheel,  and 
under  his  skilful  manipulation  assumes  the  desired  shape,  the  clay  revolving  rap- 
idly, seemingly  endowed  with  life  and  following  the  slightest  change  of  his  hands. 
Should  the  wheel  have  been  superseded  by  the  jolly,  a thin  bat  of  clay  is  placed  in 


Clay  Presses. 


a mould  which  is  put  on  the  jolly,  and  whilst  rapidly  revolving  the  workman 
presses  a tool  of  proper  form,  which  is  attached  to  an  iron  lever  called  a “ pull- 
down,” on  it  to  shape  the  back  of  the  plate  or  dish  or  the  inside  of  the  cup  or 
bowl.  The  mould  is  taken  away  and  placed  to  dry.  Being  made  of  plaster  of 
Paris  it  absorbs  the  water  in  the  clay,  the  article  dries  and  shrinks  proportionately 
and  is  easily  removed.  Cups,  etc. , are  passed  on  to  the  turner  who  rounds  the  tops 
and  smoothes  them  with  a flat  steel  tool.  Hollow  pieces  which,  from  their  shape, 
can  neither  be  thrown  on  an  ordinary  wheel  nor  jollied,  such  as  cover  dishes  and 
tureens,  are  made  by  clay  being  pressed  into  a mould  made  in  two  or  more  sections 
and  are  called  pressed  goods.  Each  section  of  the  mould  is  lined  with  a bat  of 
clay,  which  is  carefully  smoothed  with  a sponge  and  a hard  piece  of  rubber.  The 
sections  are  then  fitted  together  and  held  in  position  with  a leather  strap.  A roll 
of  clay  is  placed  on  the  outside  seams  and  the  mould  is  put  away  to  dry.  Handles 
are  moulded  separately  and  fixed  on  by  dipping  the  ends  in  slip.  When  the  piece 


98 


ROUGH  NOTES  ON  POTTERY. 


is  taken  from  the  mould  the  seams  are  rubbed  down  and  it  is  put  in  the  green-room 
for  further  drying  until  it  is  ready  for  the  oven.  Pottery  ovens  are  built  of  red 
brick  and  lined  with  fire  brick  and  are  about  sixteen  feet  inside  diameter  and  six- 
teen feet  to  the  roof  or  crown,  above  which  the  oven  rises  to  a sufficient  height  to 
give  draught  to  the  fires.  Around  the  base  are  the  ten  or  twelve  furnace  openings 
which  connect  with  the  flues  built  under  the  floor  and  around  the  walls  of  the  oven. 
The  ware  before  being  placed  in  the  oven  is  arranged  in  saggars,  a sort  of  box  of 
irregular  shape  made  of  common  clay.  White  sand  is  used  in  which  to  bed  the  pieces. 
When  the  saggar  is  filled  a roll  of  clay  is  placed  on  its  edge  to  exclude  the  dust  and 
smoke,  another  saggar  is  placed  on  the  top  of  it  and  the  operation  repeated  until  a tier 
or  bung  reaches  the  top  of  the  oven.  When  the  oven  is  filled  with  saggars  the  open- 
ing is  bricked  up  and  plastered  with  clay  mortar.  The  firing  then  commences  and 


The  Jolly. 

lasts  about  forty-eight  hours,  and  a heat  of  about  3000°  Fahrenheit  is  reached.  The 
fires  are  allowed  to  die  away  and  after  cooling  for  about  three  days,  the  ware  is 
taken  out.  This  is  called  “ drawing  ” the  oven,  and  the  ware  has  now  passed  from 
the  “green”  to  the  “biscuit”  state.  During  the  firing  the  ware  has  shrunk  in 
size  considerably.  Parian  shrinks  the  most,  about  one-third;  ordinary  earthenware 
about  one-eighth  to  one-twelfth.  This  shrinkage  increases  the  harder  the  ware  is 
fired.  Parian  and  other  groups  must  have  some  of  their  parts  propped  in  the  oven 
to  ensure  them  retaining  their  shape  and  these  props  must  be  made  of  the  same 
body  so  that  the  shrinkage  of  the  group  and  the  props  may  be  exactly  propor- 
tionate. 

Having  reached  the  biscuit  state  the  ware  is  now  ready  for  decorating  or  glaz- 
ing. In  case  it  is  to  receive  an  underglaze  decoration,  it  passes  to  the  artist  to 
paint  on  it  whatever  his  fancy  dictates  or  to  the  printer.  For  dinner,  tea  and  toilet 
ware  the  copper-plate  process  is  extensively  used.  The  design  is  engraved  on  a 


THE  PROCESS  OF  MANUFACTURE. 


99 


Firing.  Bas-relief  from  Wedgwood  Memorial  Institute. 

taken  to  the  “glost”  oven.  Great  care  has  to  be  taken  in  placing  the  ware  for 
this  firing,  and  small  triangular  pieces  called  stilts  and  spurs  are  used  to  prevent 
the  pieces  touching  each  other.  This  firing  occupies  about  twenty-four  hours. 
Should  the  ware  require  gilding  it  is  taken  to  the  workshop  and  the  gold  applied 
and  it  is  then  fired  for  six  or  seven  hours  in  an  enamel  kiln.  These  printed  deco- 


copper-plate, which  is  charged  with  specially  prepared  color  by  the  printer  and  an 
impression  on  tissue-paper  is  taken  from  it.  This  is  nanded  to  a cutter  who  clips 


Turning. 

away  the  superfluous  paper  and  passes  it  on  to  the  transferrer,  who  places  it  in  the 
required  position  on  the  ware  and  rubs  it  with  flannel  until  it  adheres  properly. 
The  paper  is  soaked  off  by  immersion  in  water  and  it  is  then  sent  to  the  u harden- 
ing-on ’ ’ kiln,  to  remove  the  oil  with  which  the  color  is  mixed  before  it  is  ready  for 
glazing.  The  dipper,  standing  by  a tub  filled  with  glaze,  takes  a piece  in  his  hand, 
immerses  it  in  the  liquid  and  hands  it  to  a boy  who  places  it  on  a board.  It  is  then 


100 


ROUGH  NOTES  ON  POTTERY. 


rations  can  be  applied  either  on  or  under  the  glaze.  The  former  method  prevails  in 
England  and  the  latter  in  this  country.  You  have  noticed  in  some  dark  blue  patterns 

a beautifully  soft  effect  caused  by 
the  flowing  of  the  color.  This  is  pro- 
duced by  placing  in  the  oven  a small 
quantity  of  “flow,”  consisting  of  salt 
petre,  borax  and  lead,  the  heated 
fumes  of  which,  rising  in  the  oven, 
cause  the  blue  to  flow.  Some  pieces 
of  this  ware  are  stained  with  blue  on 
the  underneath,  and  it  is  popularly 
supposed  that  the  color  has  gone 
through  the  plate.  This  is  an  error, 
the  stain  being  caused  by  the  color 
on  the  plate  underneath  “jumping” 
as  it  is  termed. 

In  making  hard  porcelain  the 
glaze  requires  the  hardest  fire.  A 
French  oven  is  divided  in  two 
stories.  The  bottom,  and  conse- 
quently the  hottest  chamber,  is 
filled  with  glazed  ware,  whilst  the 
superfluous  heat  passing  into  the 
upper  chamber  is  all  that  is  required 
to  fire  the  green  ware. 


Casting  is  described  in  the  article  on 
“Belleek.”  Most  of  the  rich  decora- 
tions on  china,  both  French  and  Eng- 
lish, aie  applied  on  the  glaze,  as  many 
of  the  delicate  colors  fuse  at  a low  heat 
and  would  be  altogether  destroyed  if 
subjected  to  the  heat  of  the  glost  oven. 

The  modeler,  the  mould  maker 
and  the  engraver  are  all  important  per- 
sonages in  a fully  equipped  modern  pot- 
tery, but  their  names  are  sufficiently 
suggestive  without  particularizing  them 
more  fully. 

Just  a word  as  to  the  sizes  of  some  of 
che  more  staple  pieces  in  earthenware. 

To  facilitate  the  count,  a workman  is 
paid  by  the  dozen,  but  this  dozen  varies 
from  one  piece  to  sixty.  For  instance, 
the  bowl  maker  receives  exactly  the 
same  price  for  making  one  very  large 
bowl  as  he  does  for  sixty  small  ones. 

{For  the  illustrations  of  Filter-Press , the  Jolly  and  Turning , 1 am,  indebted  to  the 
courtesy  of  The  Potters'  Co-operative  Co. , East  Liverpool.) 


101 


BESTS,  SECONDS  AND  THIRDS. 

Bests,  Seconds  and  Thirds. 


REGARDING  the  earthenware  of  Persia,  it  is  of  interest  to  remark  that  it 
formed  one  of  the  principal  articles  of  export  to  India,  in  the  17th  century, 
when  Chardin  visited  both  of  these  countries.  Chardin  relates  that  the 
Dutch  traders  were  in  the  habit  of  sending  Persian  earthenwares  to  Europe, 
and  there  passing  them  off  as  Chinese.  It  would  appear  that  the  manufacture  of 
earthenware  was  carried  on  in  Persia  on  such  a large  scale  in  the  17th  century  as  to 
furnish  a notable  staple  of  the  foreign  commerce  of  the  country ; and  also  that  a 
degree  of  excellence  had  by  that  time  been  attained,  which  enabled  Persia  to  rival 
China  in  the  markets  of  Europe.  It  would  be  a curious  problem  to  trace  through 
the  Moors  of  Spain,  and  the  potters  of  Delft,  the  unconscious  influence  of  Persia  on 
the  ceramic  art  of  modern  Europe  as  developed  in  Dresden,  Sevres,  and  Stafford- 
shire.” From  “ Persian  Art”  by  Major  R.  Murdoch  Smith. 

* * * 

The  Portland  vase  was  found  during  the  pontificate  of  Urban  VIII  (Barber- 
ini),  between  the  years  1623  and  1644,  by  some  laborers,  who,  while  dig- 
ging at  a place  called  Monte  del  Grano,  about  three  miles  from  Rome,  on  the 
road  to  Frascati,  discovered  a vault,  which  on  being  opened  was  found  to  be  a 
sepulchral  chamber,  inclosing  a sarcophagus  of  fine  workmanship,  and  within  this 
the  vase  in  question,  containing  ashes.  There  was  no  inscription  to  give  any  light 

with  respect  to  the  person  wdiose  remains  were  depos- 
ited in  the  Sepulchre.  The  sarcophagus  was  placed  in 
the  museum  of  the  Capitol,  the  vase  was  deposited  in  the 
library  of  the  Barberini  family,  and  continued  for  above 
a century  to  be  one  of  the  most  admired  pieces  in  that 
celebrated  collection  ; it  was  generally  distinguished  by 
the  name  of  the  Barberini  vase.  After  the  dispersion  of 
this  library,  the  vase  was  purchased  at  Rome  by  Sir 
William  Hamilton,  by  whom  it  was  disposed  of  to  the 
Duchess  of  Portland  ; at  the  sale  of  her  Grace’s  valuable 
museum  in  1786  the  vase  was  purchased  by  the  Duke  of 
Portland  for  about  1,000  guineas. 

Josiah  Wedgwood  borrowed  the  vase  in  1786,  from 
the  Duke  of  Portland,  to  copy.  It  took  him  four  years 
to  make  a perfect  copy,  having  to  discover  a body  suitable  and  in  close  imitation 
of  the  original. 

* * * 

11  The  potters  of  Yezd  once  sent,  as  a challenge  to  the  potters  of  Isaphan,  a 
porcelain  vase  which  held  twelve  pounds  of  water  and  only  weighed  one  miscal. 
The  potters  of  Isaphan  sent  to  Yezd  in  return  a vase  of  the  same  size  and  shape 
which  only  held  one  miscal  of  water  and  weighed  twelve  pounds.”  Persian  Art. 

* * * 

Holcroft  the  author  of  Road  to  Ruin , was  a hawker  of  pottery. 

* * * 

There  is  more  china  clay  used  in  the  adulteration  of  fabrics,  than  in  the 
manufacture  of  china. 


102 


ROUGH  NOTES  ON  POTTERY. 


List  of  Works  of  Reference  on  Pottery. 


Ancient  Pottery.  Birch.  1873. 

Wedgwood  and  his  works.  Meteyard.  1873. 

Life  of  Wedgwood.  Jewett.  1865. 

Ceramic  Art  of  Great  Britain.  Jewett.  1877. 

The  Best  and  Most  Complete  Work  on  English  Pottery. 

Pottery  and  Porcelain.  Marry att.  1868. 

Handbook  of  Marks  and  Monograms.  Chaffers.  1874. 

Palissy  the  Potter.  Prof.  Morley. 

Josiah  Wedgwood.  Samuel  Smiles.  Harpers.  1895. 

Two  Biographies  Everyone  Interested  in  Pottery  Should  Read. 

Ceramic  Art  of  Japan.  Audsley  and  Bowes.  1875-80. 

Traite  des  Arts  Ceramaiques.  Brongniart.  1854. 

Potting  in  Worcester.  Binns.  1877. 

French  Pottery,  (In  the  South  Kensington  Museum).  Gasnault  and  Gamier.  1884. 
The  Ceramic  Art.  Miss  Young.  Harpers.  1879. 

A General  History  of  Pottery.  Prehistoric , Oriental  and  Haviland 
faience  the  Leading  Features. 

China  Collecting  in  America.  Miss  Earle.  Scribners.  1892. 

The  China  Hunter’s  Club.  Harpers.  1879. 

Both  Very  Interesting  to  American  Collectors  and  Containing  Much  New 
Matter  respecting  English  Pottery. 

Pottery  and  Porcelain  of  all  Times  and  Nations.  W.  C.  Prime.  Harpers. 

A Standard  Text  Book. 

The  Art  of  the  Old  English  Potter.  M.  Solon.  Appleton. 

Maiolica  and  Fayence.  Beckwith. 

Majolica.  C.  Drury  E.  Fortnum.  F.  S.  A. 

The  Pottery  and  Porcelain  of  the  United  States.  Dr.  E.  A.  Barber. 

Dictionary  of  Ceramics.  Gamier.  G.  P.  Putnam  Sons,  N.  Y. 

English  Porcelain.  A.  H.  Church,  F.  R.  S.  1894. 
il  Earthenware  “ “ 1894. 


A DEDICATION 

usuaRy  precedes  the  contents  of  a book, 
but  I prefer  to  place  it  here 
as  my  last  thoughts  always  are  and  always  will  be 
of  the  generous  assistance  and  kindly  words  of  encouragement 
so  freely  given  by 

Merrick  Whitcomb,  Esq.,  Pennsylvania  University, 
Messrs.  F.  P.  Abbot  and  J.  J.  Miller,  New  York, 
and  my  brother 

Frederic  Seely  Jervis,  Springfield,  Mass, 
to  all  of  whom  my  heartiest  thanks  are  due. 

W.  P.  JERVIS. 


MARKS  AND  MONOGRAMS. 


103 


MARKS  AND  MONOGRAMS. 


(Where  the  Trade  Mark  includes  the  Name  of  the  Manufacturer  it  is  not  repeated  here.) 

Plate  2.  1,  Gerard,  Dufraisseix  & Cie.  2,  3,  Delinieres  & Cie.  4,  M.  Redon.  5,  W.  Guerin  & Cie. 

6,  Haviland  & Co.  7,  J.  Pouyat.  13,  Bishop  & Stonier.  14,  Geo.  Jones  & Sons.  15,  E.  J.  Bodley. 
17,  E.  Astbury.  19,  Peterinck.  21,  C.  Krister.  22,  Danish.  25,  J.  Haddock  & Sons  (Hotel  ware). 
27,  W.  Adderley.  29,  Brown-  Westhead  Moore  & Co.  30,  J.  Thooft  & Labouchere.  31,  G.  Grainger 
& Co.  35,  E.  J.  Ridgway.  36,  Ridgway,  Sparks  & Ridgway.  37,  Darnheim,  Koch  & Fischer.  40, 
Triebner  Ens  & Eckert.  41,  Ludwig  Wessell.  42,  Fischer  & Meig.  43,  J.  Yon  Schwarz.  44  to  47, 
Villeroy  & Bocli.  50,  Tressemanes  & Vogt. 

Plate  3.  i and  3,  J.  Ridgway.  2,  J.  & W.  Ridgway.  4,  Brown- Westhead  Moore  & Co.  5,  Worcester. 

7,  W.  Ridgway.  8,  Ridgway  & Abington.  9,  Edge  Malkin  & Co  11,  Bates  Walker  & Co.  18,  J. 
Wedgwood  & Sons.  23,  Faience  d’Oiron.  24,  Podmore  Walker  & Co.  25,  J.  Beech.  30  and  31, 
Belleek.  33  and  34,  Utzchneider  & Cie.  35,  H.  Boulanger  & Cie.  36,  A.  Lanternier.  37-9,  Keller  & 
Guerin.  40,  F.  A.  Mehlem.  41,  Cantagelli.  42-3,  New  York  & Rudolstadt  Pottery  Co. 

Plate  4.  l,  Hochat.  2,  Frankenthal.  3 Furstenburg.  4,  Kronenburg.  5.  Ludwigsburg.  6,  Ginori. 
9,  Berlin,  (a)  white;  (&)  decorated;  ( c ) not  sold  in  white;  ( d ) 1850  10,  Coalport.  11,  Stevenson. 

12,  Pennington.  13,  Case,  Mort  & Co.  14,  Herculaneum.  15,  Danish,  1772.  19,  Minton.  21,  Rouen. 
24,  Septonfontaines.  25,  Mettlacli.  26,  Mennecy.  27,  Bourg  la  Reine.  28,  Sceaux.  29,  Orleans. 
30,  La  Courtille.  81,  Niederwiller.  32-3,  Clagnincourt.  34,  Due  d’Angouleme.  35,  Pont  aux  Choux. 
36,  St.  Cloud.  37,  Caffaggiolo.  38,  Bocli  Freres.  39,  Brameld.  40,  Urbino.  41,  Sincenny.  42-3, 
Lille.  44,  Aprey.  46,  Bordeaux.  47,  Meissen.  48,  Sceaux.  49,  Savy.  50,  Robert.  51,  Perrin.  52, 
Niederwiller.  53,  St.  Amand.  54,  Fouque  (Moustiers).  55,  Robertson.  56,  Rorstrand  57,  Stral- 
sund.  58,  Castel  Durante. 


Tml orders  /Tla-r&s 


Importers  Marks.  1,  Bawo  & Dotter.  2,  Chas.  Ahrenfeldt  & Co.  3,  The  Strobel  Wilkins  C®.  4, 
P.  II.  Leonard.  5,  Lazarus,  Rosenfeld  & Lehman  (Victoria  and  Empire  Works).  6,  C.  L.  Dwenger. 

Marks  on  the  Cover.  1,  Sevres.  2,  Gerard,  Dufraisseix  & Co.  3,  Brown-Westhead  Moore  & C«. 
4,  John  Maddoek  & Sons,  Ltd.  5,  Rookwood.  6,  Rorstrand.  7,  Tressemanes  & Vogt. 


Plate  I 


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105 


ADVERTISEMENTS. 


Nearly  a Century  Old 


FABRIQUE  FONDEE  EN  1797. 


E.  Gerard,  Dufraisseix  & Ge, 


SUCCESSEURS: 


The  CL  Field  Haviland 

LIMOGES  CHINA 


DECORATED 


is  marked 


TRADE  MARK. 


WHITE  WARE 

CFH 

.GDIVL 

TRADE  MARK. 


Haviland  & Abbot, 


29  Barclay  Street, 


. . . New  York. 


199^9^99999999999999999^ 


7/ei7*  X . 


3 

D*C° 

FRANCE. 


mb. 


FRANCE 


H&C? 

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ADVERTISEMENTS. 


107 


G-  LIMOGES 
^NCt- 


THESE  MARKS 

French  China 

MEAN 

STANDARD  OF  MERIT 


TO  SHOW  YOU  THE  LINE  OF  New  Shapes  and  New  Decorations 

MADE  BY 

Cmrlej  /Ihrenfeldt  6 r Jon 

MANUFACTURERS  AND  IMPORTERS 

50,  52  AND  54  MURRAY  ST.,  NEW  YORK 


Views  of  Old  Boston  Souvenir  China 

Jones,  McDuffee  & Stratton  Co. 

have  acquired  the  etchings  by  Blaney,  engraved  for  Josiah  Wedgwood  & Sons,  Etruria,  many  of  the 
historical  buildings  of  Boston  (and  elsewhere),  most  of  which  have  been  copyrighted,  and  printed  in 
old  blue  (under  glaze).  Among  the  scenes  are  Faneuil  Hall,  the  State  House  Bulfinch  Front,  the  Old 
South  Church,  the  Old  North  Church  from  which  Paul  Revere  hung  out  the  lanterns  in  1775 ; The  Lamb 
Tavern,  1845,  present  site  of  The  Adams  House;  The  Old  Federal  Street  Theatre,  The  Adams  Lean-to 
House,  Quincy,  Mass.,  in  each  of  which  a president  of  the  U.  S.  was  born;  Boston  in  1768,  Mt.  Vernon, 
Longfellow’s  Home  and  others.  Price,  50  cents  each. 

Visitors  will  find  an  extensive  exhibit  of  the  best  products  of  the  English,  French,  German,  Chi- 
nese, Japanese  and  American  Potterie  and  Glass  Houses,  in  the  Dinner  Set  Department,  the  Glass- 
work  Department  and  the  Art  Pottery  sooms.  The  stock  occupies  seven  floors  and  ten  thousand  bins. 

Jones,  McDuffee  & Stratton  Co.,  Pottery  and  Glass  Merchants, 
wholesale  and  retail 120  Franklin  Street,  Boston,  Mass. 


Mikael  Samuel 


“The  Land  of  the  Midnight  Sun.” 


S.  M.  Harris 


Swedish  and  Norwegian  Pottery, 
Glass,  Metal  and  Art  Ware 

o- 


ORSTRAND 
POTTERY 


Agency  for  United  States,  Canada  and  West  Indies 


5&rt)uel  & Co. 

38  Park  Place,  New  York 


T&vl 


VOGT  & DOSE 


43  Barclay  Street,  New  York 


SOLE  AGENTS  OF 

TRESSEMANES  4 VOGT 
LIMOGES,  FRANCE 

Decorated  and  White 


IMPORTERS  OF 

French  China 


We  carry  the  largest  assortment  in  New  York  of  French  White  China  for  Amateur  Decorators,  includ- 
ing novelties  from  all  the  principal  manufactories. 


T>l  a r£  2, 


3 

^ JL 

<553^ 

£ 


ADVERTISEMENTS. 


109 


ARTHUR  TRUE 

39  East  Twenty-Eighth  Street 

NEW  YORK 


EXHIBITION  AND 
PRIVATE  SALE  OF  ANTIQUES 

The  Largest  Collection 
in  the  Country  of 


American  Historical  Blue  Plates 


For  Sale  at  Reasonable  Prices 

Correspondence  Invited 

OLD  FURNITURE,  OLD  PRINTS,  PAINTINGS,  and  CURIOS 


S MERCANTILE 


Read 


Photograph  & Engrav*ng  C°* 

Chas.  W.  Smith,  Proprietor 

17  Park  Place,  New  York 

Photo-Engraving  in  Line  and  Half-Tone 


Chas.  L.  Dwenger 

IMPORTER 


To 


Jewelers  - ~ 

China  Dealers,  Etc. 


JOHN  MADDOCK 
' & SONS,  Ltd. 

On  Page  t and  2 & 'OTICE 


ARTISTIC  POTTERY 

REQUIRES 

Artistic  /Vdvgrtijiosi 


Specially  prepared  copyright  designs  on  sin- 
gle and  double  cards,  beautifully  executed,  with 
space  for  your  business  address,  now  ready- 
only  one  customer  in  a town  supplied.  Send 
for  sample.  The  cost  is  very  little  more  than 
an  ordinary  business  card. 

W.  P.  JERVIS 

62  James  Street  NEWARK,  N.  J. 


35  and  37  PARK  PLACE 
NEW  YORK 

“A.  K.”  French  China 

White  and  Decorated 


“ Love 
me 
Love 
my 

tt 


Ask  ^ 

SPRATT’S  Patent,  Ltd. 

245  E.  56th  Street 

NEW  YORK 

to  send  you  their  free 
catalogue  of  dog  and 

POULTRY 

foods,  etc.,  with  hints 
on  feeding,  care,  etc. 


-p/iA 


1 o 

f 


$ 


£ 


4 KPM  J’or^ 


4 7 JINCO, 

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ADVERTISEMENTS. 


47  MURRAY  STREET 

New  York 


111 


IfoSGHERAK  BROS. 


Importers  of  ♦ . . 


S 


HIGH-GRADE  BOHEMIAN,  FRENCH 
CRYSTAL  AND  DECORATED  S S 


.QLASSWARE 


whatever  disdain  the  collector  of  Dresden  and  Sevres  may  now  look  down 
on  the  blue-printed  crockeries  of  Clews  and  Wood  and  Ridgway,  the 
day  will  come  when  Ceramic  specimens  of  our  first  steamships,  our  first 
railways,  the  portraits  of  our  distinguished  statesmen,  soldiers  and 
sailors,  the  openings  of  our  canals,  the  various  events  of  our  wars,  will 
rank  in  historical  collections  with  the  vases  of  Greece.  And  whatever 
then  be  the  estimate  of  the  art  they  exemplify,  men  will  say,  ‘ ‘ These 
show  the  tastes,  these  illustrate  the  home  life  of  the  men  and  women  who 
were  the  founders  and  rulers  of  the  American  Republic.” — W.  C.  Prime. 

English  Potters 

and  American  History 


TJARLY  in  the  present  century  both  Staffordshire  and  Liverpool  sent 
us  vast  quantities  of  printed  earthenware  with  subjects  relating  to 
our  heroes,  our  statesmen  and  our  country.  To  describe  these  fully  with 
historical,  biographical  or  descriptive  notes,  carefully  compiled  from  the 
most  authentic  sources,  so  that  “English  Potters  and  American  History,  ” 
may  become  the  recognized  text  book  on  the  subject,  is  the  aim  of 
the  author. 

Especial  attention  will  be  given  to  the  Illustrations,  and  over  one 
hundred  subjects  have  already  been  selected,  which  will  be  produced  of 
such  a size  as  to  render  perfectly  all  details. 


9 

Collectors 
owning  rare 
s u bj  ects  are 
earnestly  re- 
quested to  . . . 
place  them- 
selves in  com- 
munication 
with  me. 

© 


WILL  flE  READY  IN  TIA\E 
POR  THE  HOLIDAYS 


Handsomely  Bound,  Price  $2.°° 


W.  P.  JERVIS,  62  James  Street 

NEWARK,  N.  J. 

THE  NEOSTYLE  DUPLICATOR 

ENABLES  ANY  BOY  TO  TAKE  2,000  COP^S  FROM  ONE  ORIGINALS 
9?  WRITING  OR  TYPEWRITING 

OVER  100,000  IN  DAILY  USE 


NEOSTYLE  CO.,  96-1 02  Church  Street,  New  York 


112 


ADVERTISEMENTS. 


American 

Excelsi«rs 


BUILT  TO  RIDE  AND  FULLY  GUARANTEED 


Complete  Mechanical  facilities,  experienced 
workmen,  and  15  YEARS  in  the  Bicycle 
% Business  justifies  us  in  asking  you  to  look 
over  the  . . . 


American  Excelsiors- 

Before  you  purchase  a Bicycle 
call  at  our  Factory ... 


19  Essex  Street 

between  James  and  Orange  Sts. 

NEWARK,  N.  J. 


HOWARD  A.  S/-VTH  & CO. 


HAYES  BROTHERS 
PRINTERS 
PHILADELPHIA 


r 


v 


GETTY  CENTER  LIBRARY 


3 3125  00140  3852 


